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Tous las autres exemplalres originaux sont ffiimAs en commenpant par la premldre page qui comporte une empreinte d'impression ou d'iiiustration et en terminant par la derniire page qui comporte une telle empreinte. Un des symboles suivants apparaftra sur ia dernidre image de cheque microfiche, selon le cas: le symbols — ► signifie "A SUIVRE", le symbols V signifie "FIN ". Les cartes, planches, tableaux, etc., peuvent Atre filmAs A des taux de reduction diffArents. Lorsque ie document est trop grand pour Atre reproduit en un seul clichA, 11 est filmA A partir da i'angie supArieur gauche, de gauche A droite, et de haut en bas, en prenant ie nombre d'images nAcessaire. Les diagrammes suivants iiiustrent la mAthode. 1 2 3 I 6 The EDITH and LORNE PIERCE COLLECTION of CANADI ANA ^lueetfs University at Kingston \ 4. \ 'J HOW TO BEAD; -A. DRILL BOOK FOB THX * ) (Cnltiba&n iof i\t faking §m, AKD TOR Correct and Expi^bssivb Rbadinq. ADAPTED FOR THE USE OF SCHOOLS, ASJ> FOB PSZVATB ZmTBUOTZOXT. By RICHARD LEWIS, Teacher of Elocution, Author of '* Ths Dominion Eloeutimiat,** Ac 3ut1i0riM H i\» Pittiisitn* of (BHiviXAWm, 3rd EDXTION, 90«ottt0: ADAM MILLER & CO .1877. 1217 cim^ oT Entered according to the Act of Parliament of the Dominion ^of Canada^ in the year one thousand eight hundred and seventy-seven, by Adam MiLLBB ft Co., in the Office of the Minister of Agriculture. i. ^ Explanation of Marks used in this Work* I Brief pause. II Long pause. ( ') Rising inflection. (^ ) FalUng inflection. — (Dash over the word) Monotone. ^^ Basing circumflex. '^ Falling droumflez. > Swelling at the beginning of the yoioew < > Swelling in the middle. .< Swelling at the end. Emphasis indicated by UaUet. Stronger emphasis by small capitals. Strongest emphasis by heavy faced typt* H. P. High pitch. M.P. Middle pitch. L, P. Low pitch. I / ol>2 gS \/ Works Consulted in Preparing the Drill Book. The Philosophy of the Human Voice, By Dr. Rush. Vocal and Physical Training, by Lewis B. Monroe. Orthophony, by Prof. Wm. Russell. Vandenhoff's Elocution. Bell's Elocutionary Manual, PHndples of Speech, by A. M. Bell. The Cultivation of the Speaking Voice, by Dr. Hullah. King's College Lectures, by Prof. Plumptre. Elocution, by Prof. Mollvaine, Princeton College. Thelwall's Lectures on Elocution. Rev. W. Cazalet on the Voice. The Human Voice, by Dr. TraU. Abbott's English for the English People. Frosodia Rationalis, by Joshua Steele. 1779. Lectures on the Art of Reading, by Thoe. Sheridan, A. M. 1775. EXAMINATION PAPERS DV AKITHMETIC, By J. A. MoLsLLiMi L.L.D., Inspeotor High Schools, and Thos. KiBXiiAiii), M.Am Soienoe Master, Nonnal Sohool, Toronto. Sscoxd Edition. PBIOE tl.OO. Tram fh« GUBLPH MBBOURT. * * * The work is divided into six ohapton. The flnt in on the Unitary Method, and girei lolntions snowing its appliea- tion to a variety of prohlemL in Simple and Compound Propor- tion : Peroentage. Interest, Disconnt, Profit and Loss ; Propor- tional Parts, Partnership, • Ohain Rule, Ezohange, Alligation ; Commission, Insoranoe, tto^ Stocks; and Misoellanoons Pro- blems. The second is oh Elementary Bules, Meorures and Multiples, Vnlgar and Decimal Fractions. Tbt* tlilrd con- tains Bxamhiaaon Papers for entrance into High Schooln and Oollefiate Institutes, the fourth for candidates for third class certifleates, the fifth for candidates for the Intermediate Sxamination and Second-Class Certificates, and the sixth for candidates for Third Class Certificates and ITniTersity Honors. It will be observed that the work begins with the fundamental rules— those principles to be acquired when a pupil first enters upon the study of ArUunetio, and carries him forward till pre Bar^d for the highest class of certificate and for HonorHof the niversity. • * * Teachers will find in it a necessary help in Buppl]ring questions to give their classes. Those who aspire to be teachers cannot have a better guide— indeed thare is not so good a one— on the subject with which it is occupied. Jhnm the ADVXBTI8EB. « • • By all who aw groping after some method better than they have at present, this voltune wUl be oardiaUv welcomed, and many who have never suspected the possibUity of accomplishing so much by independent methods will be by a perusal of the in- troductory chapter impelled to ralnkfor themselves, and enabled to teach their pupils how to do so. * * * It is far superior to anything of Che land ever introduced into this country. * * « The t3rpogn4>hlcal appearance of the work is of a very high chamoter— ouite equal, in fact, to anything of the kind issued by the best pubu^lhiag houses of London or New York. From the TELESCOPE. * • • The plan of the work is excellent, the exercises being arranged progressively, each series preparing the student for the next The problems are all original, and so cnnBtructed as to prevent the student using any purely mechanical methods of so« ration. * • « Weshomdreallyfeelproudof our Canadian Au- thors, and publishing houses, when we consider the infancy of our couhtry and the progress it has made and is maUng in edu> cational matters, and particularly in the recently puUished edit* cational works. ANALYSIS t. TBE ENGLISH LANGUAGE, W9 h ILAMT rUOBMO, M JL, B.OX. Win A 1 — fl w «t ftuiminMi tuut wwm on Ojmammi Br W. H««MM, ILA., BsAiiim n ■■Mbiu, Toaono Ui fOB UBM IN FUBUO HIOH 80H00LS AND OOLUBOIATI INSnTUTEa PRIOE. • ■ SLOO. ■<•»•■ *• Remlng^ iBgli* An^jria hM bMO otMl In ttM OuBittoo (Mtaf^ tut* linw 1878. "1 know dt no bttt«r tnt book In Bngllih QramnMur for tho latMwdtoti roiBM In «ar Bli^ BoiMxria and CoIl««kte IniUtutai." i. Sum, BA^ Htad JlUaitr^ C M g i m t t ImiHhOt^ St, CmUkmimu. **nHiii«^AiM4|riil>MbeM In OM here for about two iMni MlitlMbwl ■Mllkaowfll loradtMMidpnpili— pwtloutatfljrln ' Ownum Wuium, BA, Mimd Mmttm't H. 5^ '* Wo hftvo OMd Fleming for neMljr one ywr. It b thobort iMiriit on th« subject durii^r Mi ezpenenoe of two jMn in " BBfflisb Onmriw Scboola." IhavotTwr Midoifhtin r. Mdnrai^ MJU, Mtad MtuUr, H. S^ IngmM. " neml^fHAuQnkihM not bem intrndnord into tho Hlfk SdMol, InfawdL M • Tkift BoA, bat nradi ol its oontonn hMbean brought Miorr the notico of Hm itudentr In tho form of lectures. " I nave CMretulljr oxamined the work, and I have no heelUtloB in pronouns ky It wiiwrlor to anythtaigyetprBeep t o d ontheiubJeotof BngUeh. Ittoeapeolaliy iiduied to High Sehool work. I thiai be gntUM to levn that H Is i>iMrd on tiMllil «( suthoriMd Itat Booki.** PREFACE. I The object of this work is to supply the schools of the Phi> yinoe with a course of systematic training in the culture of the speaking voice, and instruction in correct and expressive read^ ing. The first sections of the book embrace all exeroises that tend to develope and improve the vocal organization, and to improve the ear. The voice and the ear are the important agents in the music of speech ; and as the voice of youth is flexible, and in the best condition for direction and culture, and the ear is quick to appreciate all the variations of tone which give ex- pression to speech, a system of culture founded upon soientifio principles cannot fail to be beneficial, and to give to our system of teaching to read some of the qualities of a true art. These exercises as a species of vocal gymnastics are also of the first importance, as they bring into vigorous and healthy action the muscles around the chest, and those important organs, the heart, the lungs, the throat, and all the agents which combine to produce voice. The exercises upon the vowels and consonants whioh am associated with the vocal exercises are founded upon the true phonetics of the language. Pronunciation is subject to all the influences of bad examples and provincial corruptions. If speecli is to be correct and refined, and the true sounds of a language preserved and estaUished, the teacher must be guided both by the approved sounds of the letters, independent ot local customs, and by the action and position of the organs uaed to utter sounds. This method places pronunciation on a sokmtifio bans, and proteota it a^jainst the attacks and corruptkMMi of local ouiiomi. Hence it ii of the first imporiatioe in taaohing to read and speak correctly, that the pupil should, by r^ular drill, be made familiar with the true sounds of the vowels and consonants. It is important to remember that the voice of youth changes, and is succeeded by the voice of adult age; and any drill devoted to the culture of the/irst voice, without reference to the changes that must succeed it, would be positively injurious. But there are preparatory exercises in vocal gymnastics, as there are in all other gymnastics, which strengthen the muscles and quicken the senses without injury to their future development, or to the changes which adult life brings upon them ; and these are most appropriate to the sphere of the school room. It is the utter neglect of this principle, the utter absence of all cul- ture of the speaking voice in the education of youth, that makes musical speech and expressive reading such rare qualities in after Ufa The sections devoted to expressive reading are explained on the principles of sentential analysis. It is true that a thorough and just understanding and conception of a passage are the best guides to its expressive delivery. But all this pre-supposes a ripened judgment, a cultivated voice, and an acute ear. The exercises of the first sections of this ''Drill Book" cannot fail to secure the last two qualifications. But the first is not likely to be possessed by youth. The preparatory step is to make the pupil familiar with the structure of the sentences and the re- lation of all the members to each other. The sentence is the garb of the thought, and as pupils are drilled in analysis thej learn to understand the bearings and r». !ative importance of the thoughts by the study of the structure of the sentenoet. A pupil who could not fathom the depth and breadth of an ab- stract thought, or the intensity of a passion, could easily be tau^^t to dJBtinguiHh between a principal and a subordinate MlFAOt. olatue or ptiraie ; yet that very study would be preparing the duUett aoholar for the profounder analysin of the Mutiment. Henoe it ii ooniidered Uiat the first studies in elocution must be mainly guided by the analysis of the sentence. In that view the principles and rules in this book have been formed ; and a very large and long experience in teaching the art of elocution has convinced the author that this is the easiest as well as the I most successAil method for instruction in expressive reading. The best hope that the author can have of this "Drill Book" is that it will be mggettive. The subject is advancing in public estimation ; and while in this Province we have done nothing yet to establish our system of teaching to read on a broad and scientific basis, its necessity has been admitted by every one. In England, professorships of Public Reading have been esta- blished in connection with leading Universities ; but the United States have gone beyond this, and in attention to teaching read- ing as an art have taken the foremost place. Dr. Rush was the first to place the Art of Beading on a scientific basis ; nnd all who have studied the subject, or taught it in any form, are indebted to his eloquent and profound treatise on the Philotophy of the Human Voice more than to any other work. To this work the author of this book is largely indebted. Appended is a list of other books which he has consulted, and which the teachers and students may find useful for reference. The plan of this book is similar to that of Professor Monroe, the Super- intendent of Vocal Culture in the Public Schools of Boston, and several of the illustrations have been selected from his manual. Professor Monroe has established the success of his system in Boston, and his book may be safely taken as a model for similar exercises in Ontario. A special series of selections follows the instruction, marked for practice; and as moetof the illustrations are similarly marked, the attention of the reader is directed to the explanation of the marks on page xii. n PRE^aOB. The Examination Papers and Questions at the end of the book form an original, n jvel, and most important feature of the work. They demand a knowledge of theory from the candidate, and this knowledge, especially to teachers, is, to say the least of it, as necessary as skill in reading well. They were suggested to the author by one of the County Inspectors, who understood that skill in reading well was not sufficient for the successful teacher, and who was anxious to test candidates in their know, ledge of principles. The questions have been prepared with tJiat object, and as they demand from the candidate not only a knowledge of the theory of good reading, but a knowledge of the subject-matter and spirit of the text, the author trusts they will be suggestive and usefuL book irork. and of it, 9sted itood fisful now- with only je of nists ELEMENTARY STATICS. BT THOMAS KIRKLAND, M^, 8€i€n€€ MatUr. JTormai Schooif TiMronio. W. B. Bnmu, KA., aSe., MathmmMeat Matl$rt Omm Mlt School. " Pron « careful exMnbwUon of it I think it wID b* of gnat nw to thoie preparing for the euminatioiui of the Cratnl Board. Gio. Barib, M. a., H.B., Seiinee MatUr, OtUum Mormal SOttl. "ItrappUee » great want felt by thoee preparinf fiirTeaolMirf Certificatee. This— did it posseaa no other merits— ehould malce It a great soooess. It is by far the best t«xl book od Um sabjeot for tlM schools of Ontario I nave seen." Quo. H. BoanrsOK, M.A., Head Ma$ttr, Wklfbt HtgkSehooL "It is the work of one of tlie most suceossful teachers in tba Dominion, and STeiy paare boars evidence that it is no liasty oompl* latlon, Imt the fruit of matured thought and experience.** 0. J. Maoosmor, KA., Prineipal Bigk Schoct, Stro^fiofHL ** In the Statics, the treatment of the subject Is at onoe elementaiy, and rigid enough to lay the foundation of accuracy in the ftelhsr prosecution oi the science." D. 0. MoHbmry, n.A., Collegiate ImtUute, Oobomrg. "Among the valuable text-books you have recently pablisbed, none ismore timely thnnyour ' ElemcnUiry Statics.' A won of the kind was greatly needed, especiallv by High School Teacheru ; and it is likely to meet with very general favour." J. W. CONMIR, M.A., High School, Berlin. " Ifr. Kiricland has placed the teachers of Ontario untki- great obligations by publishing his excellent little work. Tlie arrBn;,'oment and clearness of the 'Bm)k work ' and the admirable sdeetton of pro- blems, would <4 themselves place the book in the flrst rank of tJemen- tary treatise* ; but. above all, one can trace in every page the result of tkc autlMNr's practical oxpericuco iu teaching the lubjem." i! i BEATTY & CLAEE'8 BOOK- KEEPING; A Tbultisi cm Bnrou ahd Doobli Bhtbt BooE-Euvno, FOR USE IN HIGH AND PUBLIC SCHOOLS, ByB. Q.'Bkattt, Principal Ontario Oonunerdal College, BeQe> Tille, and SAumiL OiiAbb, Book-Eeeping and Writing Ifaater, Normal School, Tcnronto. FBICB 70 CENTS. m •■■ m T. O. STEEL, IhBpeotor, P. 8. Co., PreMOtl. * * * I oonaider " Beatty ft Clare's Book-keepinjS" plain and simple, yet sufBoiently oomprehonslve for all praotioal par- poses, and especially fitted for a school text book. WM. TABGOEB, L. L. D., H. IL. Oalt. OOL Inrtltate. * * * Simple, dear, dayoid of oonfoilng deflnlMont and ▼•ry praotioal tnzoaghoal J. W. OONNOB. B. A., H. IL, H. a, Berlin. * * * I consider it the boat elemeatory work on the Mb- Ject that I have yet seen. D. 0. McHBNRT, Bl A. Prlncpal, Oobonrg OoUeglate Instltnte. loonader Beatty AOIan'f Book-keeping an excellent test book. A. TOITNO, Principal of Berlin, 0. a The work on BookJraepmg by Beatty A COare la the best that I oyer saw. JOHN WILSON. Math. ICaster, Port Hope, H. a * * * I feel safe in recommending the work to my fellow teachers throughout the Province, as one well adapted to ensure thoroughnees m the art of Book-keeping. HUOH J. STRANG, B. A., H. M., H. a, Goderioh, * * * Its elnoidatioQ of the subject being clear and ade- quate, the work will prove a valuable aid to all who may wish to make themselves thoroughly acquainted with the principle! of Book-keeping. J. a CASSON, Inspector, Iflddleiex. * * * I am assured from an examination that It ll ■!■ perior to any other work for oar Canadian School . Method of Using the Drill Book. > The exercises and instraction in this book are designed and arranged for all grades of pupils in Public and Collegiate Schools. These exercises, however, may very properly be divided into two branches, viz. : (1) Those which can be safely prac- tised by the very lowest grades, and (2) those which are best adapted to the higher grades. The table of contents indicates these two branches by having all that is adapted to the capacity of the lower grades printed in roman type, and all that is adapted to the higher grades in small capitals. Thus the Breathing and Chest exercises may safely and ad- vantageously be commenced in the alphabet class ; and to that and all the lower grades the practice in sounding correctly, and with all the appropriate vocal gymnastics, the vowels and conso- nants is indispensable. The principles of expressive reading, for their full comprehen- sion, require the experience and knowledge of grammar and analysis, which can scarcely be expected before pupils have passed through the Fourth Reader. A few, however, of the leading principles, such as those for Inflection, and even for Pause — the former depending on the completeness or incom. pleteness of the thought or the sentence, and the latter on the parts of speech — may be introduced with the studies of the Third and certainly with those of the Fourth Reader. The orotund voice belongs to the period of early manhood, when the second voice has set in ; and although it is quite fitting that tJie classes just entering on that period should have some MRHOD or V8IN0 THB DRILL BOOK. knowledge of the method by which the yoioe of manhood can be strengthened and improved, yet it would be useless and unwise to drill the immature voioe <^ youth in this quality, which espe- oially belongs to the age of manhood. The Physioial Culture of Chapter III., Section I, is an occasional exercise, which may be varied; lengthened or cuT' tailed, according to the necessities and time of the pupils. The really important exercises b«gin with the second section. The teacher should in successive lessons and exercises practise the movements one after the other, but he should not dwell too long on any one exercise. The best method is to take portions of several lessons in each lesson : — Chest exercises, Breathing, Vocalization, Articulation, and even Infection and Pitch, follow- ing Mich other in order, but no one singly occupying the whole time of a lesson. If the teacher is able to set the example of expressive read- ing, he should always start a practice with simultaneous read- ing, naming as he gives the example, with his own voice, the leading features of the passage. li CONTENTS. Secdon I. ii YAOB ThiOroaks Of Spbsor 1 Manftgesnent of the Breath 4 Hints TO THB Tbaohsr 6 (General Physical Culture 7 Section II. Cihest Exercises 12 Chest Expansion, with Breath Exercises 15 Voice Movements 17 How to Hold the Book 18 Production of Pure Tones 19 Vowel and Diphthongal Sounds 22 Voice Practice on Vowels 25 Analysis of Vowel Sounds 27 Articulation 29 Practice on Vowel Sounds 33 Practice on Consonants 36 Section III. Modulation ; 40 SoALB voB Pitch ANp ToMK 42 Bbadino Gamxtt 43 Inplbotion 45 Quality anu Force 47 Orotuwd Voiob 48 FoBOB OB Stress 50 Section IV. pRiKoiTLBs Of Exprbssitb Rbadimo 58 Rhbtobioal Padsbs 68 I ! ▼tn INDBL PuKozruB or iNTLioTioir ."*. 61 PiTOH 69 Ratjsoe Movimxiit 80 Emphasis 81 TuK Emphatic Tik 85 Tbamsition 87 Imitativs Modvlatiok 94 n Section V. AooKNT, Rhythm, and Mbtre 103 HlllTSON RbADIKO P0£TBT 1U6 Section VL 8>UtOTIONS FOB PBAOnOB 110 Examination Papkbs 141 Examination Questions 168 «1 69 80 81 85 87 94 I- SECTION I. CHAPTEB I. The Organs of Speech. 1. An extensive knowledge of the vocal organization is not necessary to the study of delivery or of music; but as the names of the vocal organs are often used, and their action and posi- tion are frequently referred to in all treatises on vocal culture, a very brief view of their structures will aid the lessons of the teacher and the studies of the pupil. 2. The chest is the seat of the vocal organs. It consists of a bony framework connected by elastic muscles. This framework is formed by the breastbone, or sternum, placed perpendicularly in front of the breast, and the twelve pairs of ribs which are attached behind to twelve dorsal vertebrae, and the upper ones in front to the sternum, and the lower ones to each other. These ribs form the wall protecting the important organs of the chest; and, although bony in their structui'e, they are joined to the ver- tebraj, to the sternum and to each other by a soft and elastic hinge, so that they offer no impediment to the free action of the lungs. In fact, nil judicious exercises of the arms and of the voice enlarge the cavity of the chest, and strengthen the outer walls as well as the internal organs. 3. These organs consist of the heart and the lungs, the lungs occupying the cavity of the chest on each side of the heart. They fill the chest cavity. They constitute the basis B DBILL BOOlt t Ytn f tiie breathing and blood-circulating organs, and are separated ^'fW>m the stomach and blood-creating organs and the intestines by another organ of great ira[>ortance to the full exercise and development of the lungs and the voice — the diaphragm. The diaphragm is a membrane that lies across the body, and by its muscular contraction and dilatation it becomes the principal agent in inspiration and expiration. 4. The lungs are formed of innumerable cells into which the air enters, and over which the blood passes, that it may be puri- fied before it re-enters the heart for circulation. All these ves- sels, bronchial arteries, veins, lymphatics and nerves, are held in one compact form by the cellular tissue, called parenchyma. The lungs receive the outward air through another impoi'tant vocal organ, the trachea, or windpipe. This organ, in its lower part, branches off into two divisions, which pass to the right and left, and are sui)(livided and ramified throughout the entire lungs. At the top of the windpipe is the larynx, whose struc- ture is especially adapted to produce voice. The construction of this organ is complicated, and too minute for explanation in this work. It is sufficient to state that it acts upon the pas- sage of the air by the contraction of its muscles and cords. Its opening, or entrance, is called the glottis, which opens or closes as we will to produce voice. "When the passage is entirely opened no sound is produced ; but as we will to speak or sing the aperture is narrowed, the edges of the glottis vibrate, and sound is heard. Just above the larynx, and between it and the mouth, is a broader passage called the pharynx, which is the entrance to the mouth ; and this pharynx can be contracted and expanded by the will so as to form important modifications of speech, , , , 5, The palate of the mouth is arched, and admirably adapted ,^ .)^ sounding board to give tone and purity to the voice, and DRILL BOOK. I the back uf tliu palate is 8uft and punduloud, furming a tongue- like projection called the uvula. This little organ has very im- portant uses in the production of voice. It is always moving, elevated or depressed as we speak, and can be elevated at will after a little practice. When it is very much de- pressed and the larynx raised, the breath passes into the nose and the voice becomes disagreeably nasal, (losing all purity of tone. Hence the importance of control- ling its action, as the conditions of pure tone require the elevation of the uvula, the depression of the larynx, and the enlargement to the fullest extent of the pharnyx. 6. The tongue, teeth and lips are all essential organs of speech. The deep and rich tones of the orotund voice dejiend uj)on the depression and proper action of the tongue ; the fulness and clearness of consonant sounds — that is, correct articulation— is due to a vigorous action of the teeth combining with the tongue ; and while protruding or indolent action of tlie lips is ungraceful, their right nianage- ment completes the finished and graceful execution of speech. 7. The inhalation of breatli is a most important function of vocal exercise. Frequent breatliing exorcises, wlien executed with vigour, so as to fill the lungs to their utmost capacity, open and bring into action the remote cells which lie almost inactive during the process of common conversation, and thus have a most beneficial effect on the general hoaltli. 8. Again, the proper action of the diapliragm and the abdo- minal muscles contributes chiefly to secure vigour and power and purity of voice. The diaphragm exi)els the air by relaxing and curving upwards, and thus, aided by the abdominal muscles, drives out the voice with the utmost force, while the bony structure around the upper organ is kept steady and easy. On the other hand, when we inhale, the lungs fall, the diaphragm is contracted, and the curve becomes flattened and depressed. % DBILL BOOK. 9, The vocal cords must bo acted upon by the air ; and as it alwayH demands more air for speech and song than for common respiration, it will be seen how important it is to renew inces- santly the supplies. Besides, these vocal cords become more vigorous and regular in their action, with judicious practice. In common practice, as of speech, it has been calculated that they undergo 240 different changes at the mere will of the speaker. Great 8in;,'or8 can far exceed this, as their organs are under constiint discipline; and it is reported of Madame Mara that she could effect as many as 2,000 changes. 10. Tt is practice that gives this great power to these cords, liut the practice must be scientific. It then is never attended by bad consequences ; and when public speakers lose their voices the injury is nwnr \\\\i\n. iJlt. tMrt»'iMl»i^ fVof ol<>ni> i«\i)i>|"i nimll foHcli rtt iho n^ilis t>\^«\ tl^i' ltM>H l>i» jm\Iu<«mI h> »lyhl mol It'll lllti' n V{ Koo^> f)\o K»\!M^rt wf\!»ijnl\f. ''*'■ <'^'* is^\\\f^ \u)\\'i down RitMl^lif, IVinil ihofnt^.niK^M'x. :\\u\ \\w ^'l^^^^^v« Im* i^nhoil ll\ Mu\ ('Ihmi> I<« IIh> mIiIi«« j th!M>^1 pnVi^llol \\\\]\ llto MOHMt mT i||i> |IH»iIm, ov \i \)^ opow iMi» thi» pj^huH of \\\o \\;\\\\\ lui' io l»i« ItinxMl IhII lt» i\w {\>W\, \\M\\ t1\i^ tl\\M\0\ (>|i>'uH.» \\\o \W\^\\\\^o\ ; o.u pnoiipull) oh I lii' I'oio piM^ o< ni uoj I In own huoK, ihot \As\>\ n\{^\\i\\ \\vi\\\\\ m,t\\\\\ i\w i'\ O'l looKh\y Mlrni^lil; jo ll»o IVonf. V Siwtoh ft^<^ l\»^n<1« strtMsiht in rn>nl, lovol wIllHho hIiomI- X\. So|vuv\ivo|. hi lun »*V!*VjI:)\f, fwv\ n^'** tx^ (W., Al\. 25. v'^N^W*)^ AAlvn^V;***. V UvuK Iv^nv^s A\)i\ Av\\\» to tho Wwwi till tlio tlxyovH tuoot-, ** iho ivint^ ; thou n^iso < Ikmu >x i( h ciixnilov nvot.i»M\ o\ or llio >K\"i>,i li^vs of tJnjJiy^i's still tvMiohiug. IT. Thwxx- vholiAUiH \nls : thou to»\H» thont oMi«p>oly huoU Ati«t li-^t thorn tVn jii-A^lu.-^lly to tho jKVsitiou of "lUtontion"; fc^. j^ i)ie nock s«^i ohos^t olov;\toil. !)i»< hmitlM M»" l»»vn| wlll( Mhi Mi'lcH. 111. Hoful rUf'lll tt>{»tlfl wiMl (^fM»(, vl/^f/((f. i» fi'nnrfh /'In-prrlfn'. lIli'V Inlldt llio Mll'iltlllnrM, II. lMivt» (lir! )ir»rtM ii|(W/»r«lM wlMt Ifi" nfffiOMf^ for^^l*. III. Miliig (lit'iri «lMwn wJ(lMt')i(fil "fifir^y, Mi /'{/)!/* I'jXcrdM. I. IIhIhm IIm< JMirt'lM ill Crnrii of* >(if> >»/><1y fo He- full ttt' fiMil ol" Mm MiniH, mimI in liii" wi(li lfi'< rMOiiff/, |mlff»H frl^^♦ir»Jf, lllll. willllMll. IMliHM, II. Hnpnrrtlo Mm Iiiiiip#!nf //r/^ ami /w>o HovniHJ (iint'H linlViK' f/ivin{/ Mr''«. a;. Hixl'h ICr.f.rmm, \. AfiMiinm |HiHilion, Mirowln^ Mi'5 wf-lj/hf, f»f f.hfi Wly oil lli«> jioinl. of Mm fV-ot,. I'mIho Mm \mu(\n t\iui;)\t'A in front r/f Mm lioiiy iiH in lOxiMciwi 5, ir. H(i|ninitr Mm IkijuIh MrnarMy, throwln;^ Mm. ar7n» W;k in \iiio with Mm hIioiiMoih, b(M;k of tin; lian«l downwarrlji. ■HHH '« ^'U '• "^ii^ • i- * .Jti M l* it iUt 10 DRILL BOOK. ! \ III. Swing the arms round as quickly as possiblo from front to rear. 28. Seventh Exercise. T. Assume position. Stretch out both hands, with fists tightly closed. II. Bring them slowly over the head, and make them re- volve in circles, first forward and then backward. Perform this exercise very slowly. Practise also walking, and especially up a hill. 29. Pole Exercise. I. Take a pole, light, and about six feet long ; hold it with the two arms extended from each other, and as near the ends of the pole as possible. II. Now raise it and whirl it behind the head, then over to the front. III. Whirl it from one side to the other, taking it behind the head with one movement, then passing in a circuit until it reaches the other side of the body, and is brought round again to the front. Repeat this exercise many times, counting aloud each circirit made until you reach fifty. This is a splendid exercise for developing the chest. 30. Marching Exercise. I. Get the class to march in order, and sing any song or repeat the words of a poem as they march. March quickly and recite slowly. II. March slowly and recite quickly. Exercises of this kind are all the better for being practised undey difl&culties^ a^ over uneven ground, or up a hill or staira ^ DRILL BOOK. 11 they not only strengthen the lungs, but train the pupil to control the breathing and sp(;iiking actions ; so that whatever the limbs may be doing, the lungs and vocal organs can act in- dependently of them. 31. It is not necessary to go through all these exercises every time the class is to be drillod in the regular voice practice that follows. One or two of them will suffice before each of the regular exercises. 32. Finally, all who wish to strengthen the vocal organization ought to sustain the general health by general exercise and temperance. All alcoholic drinks and tobacco are exceedingly injurious to the delicate organs of the voice. Tight compressions around the chest should never be used ; the throat should be free and as open to the air as possible, winter or summer. People who wrap their throats up in great folds of cloth to keep them from catching cold, are really inviting the colds they fear. The slightest exposure endangers the throat so carefully wrapped up. The open throat is not only the best to strengthen the internal organs, but the best guard against colds. The chest, and back, and throat should also be sponged with cold water every morning throughout the year. 33- A proper diet also ia of the first importance, besides abstinence from spirits and tobacco ; all greasy food, too much butter, sweets, candies, ice creams, very cold and very hot drinks, are detrimental to the pro- duction oi a good voice .» ™F SECTION II. II il 34. CHAPTER I. Chest Exercises. (Adapted from Monroe's Manual.) Breathing Exercises. I. Position. — Feet moderately apart; one foot slightly in advance of the other ; body resting on one foot ; arms akimbo ; fingers pressing abdominal muscles in front, and the thumbs on the dorsal or back muscles on each side of the spinn ; tlie head erect, but not stiff; shoulders thrown backward and downward. II. Active Chest. — Raise and expand the chest and the u^^per part of the body, throwing it slightly back, as if dclying a blow. Fig. 1. III. Passive Chest. — Relax the muscles; l«t the chest fall, and the entire relapse as when fatigued and resting. Repeat these exercises six times. Aim at gracefulness and vigour in sustaining the active chest, as it is the position best adapted for all future exercises. See Fig. 1. 35. Deep Breathing. I. Inhale quickly through the nostrils, and keep the shoulders still. II. Send out the breath through the mouth slowly and quietly, as in common breathing. Sus- t^ain the active position. DRILL BOOK. 13 III. Repeat six times, sending out the breath alternately- through the mouth and through the nostrils. 36. Effusive Breathing. I. Active Position. Draw in a full breath to the greatest capacity of the lungs. Hold on for a few seconds, then exhale through the open mouth, as if gently sounding the letter h. II. Repeat six times. 37. Expulsive Breathing. I. Draw in the fullest breath as before, then expel with considerable force as in a whispered cough, but prolonged as much as possible. II. Repeat six times. 38. Explosive Breathing. I. Inhale as before ; then drive out the breath with sudden and great force, as if whispering very loudly " who" to a person in tlie distance. The mouth should be well opened, and the breath should be driven forward in a straight column to the front of the month, as if aiming to strike a distant object. Avoid irritating the throat. Whenever the exercise causes coayhiwj, the effort is too violent. II. Repeat six times. 39. Abrupt Breathing. I. Draw in the breath in jerks, and expel in jerks. II. Draw in jerks, and expel with a sudden and brief whisji'M". 40. Whisper Exercise. I. Read any passage in a loud, distinct whisper, so that every word shall be clearly heard by a person in the distance. This exorcise must uot be coutinued too long, aud wheu tho head begiiib to icel dizzy it should be stopped. u DBILL BOOK. r i .4»-< 4X* Recajntulatorv Exercises. Repeat each of the above exnTcmm in the order given, and with as little pause between as i>ossibIe. CHEST AND ARM MOVEMENTS. 42. Percussion of t/ie Chest. I. Fix the arms bent as in Fig. 2, hands open towards the chest, fingers slightly bent, so as to be able to tap the chest just below the collar bone. Take a deep inspiration through the nos- trils. Hold the breath in during the exercise. Fig. 2. I[. Strike on the chest rapid percussive blows with the flat ol" the fingers, wrists held slack. Strike as long as four can bo counted, common time. III. Give out breath through nostrils, count two, inhale deep, breathe as before ; two counts. Repeat fii-st exercise. Caution. — The blows should be light at first ; then when the practice is easy they may beincreased in force, but must always be free from violence. 43, Percussion with Arm Movement. I. Inhale fall breath, swing the arms from tlie shoulder alternate] v with slack joints, giving elastic, but not heavy blows upon the chest with the flat of the finj,'(;r8, just below the collar bone. The light hand strikes upon the left side of the cliest, and left upon the right side ; give two blows I tw^Xx time with each hand. See Fi,'. ?>. \ i II. Exhale and inhale as before, and re- ^(cat six times. Fig. 3. DRILL BOOK. CHAPTEK II. 15 C^C:'^' 44. Chest Expansion, with Breath Exercises. Poaition. — Elbows sharply bent and close to the side ; fore-arm horizontal, fists clenched, palm upward. Take a deep breath and hold it in, I. Strike forward with force and grace, relaxing the muscles and open- ing the hands, palm downwards. II. Draw arms energetically back to former position, expanding the chest by the action. 45. Breathing accomixivying Action. I. Hold the arms out as in 1, then inhale. Wlicn the lungs are filled, draw the arms suddenly in and expel breath at the same time. Repeat six times. I. Raise the arms above the he.id and inhale. II. Draw them suddenly down and expel breath. Ri'iicafc six times. 46. Shoulder Movement — Bent Arms. Clenched fists at the side of the shoulders, palms forwajd, foro arms vertical. I. Bring the ojien hands, palms inKxird, so as to touch each other, about three inches in front of chin. Inhale air. II. Throw the fore arms back to tho side. as in commencing ])ositions, fists clenched, palms outward. Wiiile praotisin;^ this uiuve- mcnt expel tJte breath. Repeat six times. 16 DBILL BOOK. 47. Breathing and Arm Action combined. i I. Bring the tips of the fingers to the shoulders, and inhale the breath. \l. Striko downwards with the fists cl(>nched uud the palms turned to the front ; drive out the breath with the movement. In this movement keep the body steady and let the expulsion of the breath be done by the abdominal muscles and diaphragm. Exercises on the Abdominal Muscles. 48. The power of bein^ able to contract unci expand tlic lungs in- stantaneously, with vigour and at will, is very necessary to energetic vocal exercises. It enables the speaker to take a full breath and to send forth his voice without weariness. Hence exor, iaes upon tho pectoral and abdominal muscles and the diaphragm should be frequent. A side view of the chest and abdomen in respiration. 1. Cavity of the chest. 2. Oavity of the abdomen. 3. Line of direction for the diaphragm when relaxed in expiration. 4. line of direction wlieij con- tracted in inspiration. 5, G. Position of the front walls of the chest and abdomen in in- spiration. 7, 8. Their position in expiration. ACTION OF THE DIAPHIUGll. finiLL BOOS. 17 I. (1) Contract and expand the muscles of the abdemen several times with the lungs filled. (2.) Repeat while inhaliuif and expelling the breath, but not rapidly. II. Inhale breath so that the abdomen is thrown outwards and becomes convex. III. Expel the bruath, and the abdomen is drawn inward find flattened. These exercises are silent, and they should never be practised witha full stomach, nor any stricture on the waist. 49. Voice and Arm Movement Eepeat exercises of par. 46, 46, 47. But instead of driving out mere breath, convert breath into sound, uttering the exclamation Ha, each time. Avoid the violence which irritates the throat, and do not send out breath mixed with voice as in a half whisper. The tone should be pure and quick. Breath and Voice Alternately. I. Inhale as before, retain the breath a moment, then sound ah (as in at) in a sudden explosive whisper twice, and the third time let the ah be a voice sound. There must be no pause between the whisper and the voice sound. Thus : Whisper. ah Whisper. ah Voice. ah II. Take breath after every third utterance, and repeat six times. In practising? the last exercises, the glottis, or mouth of the windpipe is contracted .md shut up as it wore for a niomcut, and the whisper and sound are sent forth with accumulated cxiiloaivc force. 18 DBILL BOOK, i ! . I 50. How to stand and hold the Book when reading aloud. I. Position. — Tho reader should stand erect but not stiff. The licad should be elevated but not thrown back. II. The eyes should not be fixed on the book, but as the reader takes in from time to time, with a rapid glance at the book, as many words as he can remember, he should look and read to the audience, especially to that part that fronts him. III. The efiect will be better if, when read- ing the words, he occasionally moves the direction of his eyes from one side to the other, and to the farthest i)art of the room as well as to that immediately near him, IV. The book should be held in the left hand. It should never be raised so high as to conceal the face, nor held so low as to compel the reader to bend his head over it V. The right hand may rest at the side of the body. But if the reader wishes to gesticulate the whole arm should be raised occasionally, all the movement being from the shoulder, not the elbow. The elbow, however, will be frequently bent, and at various angles as the reader may please. The lower limbs must be gracefully and easily erect, the right foot in advance and the left turned a little towards the left. VI. If the reader wish to turn to one or the other side of the room, he must not turn his body sideways, but only his head. He may, however, change the position of his feet. When sitting, the upper part of the body should be erect as when standing. DniLL DOOK. 19 en CHAPTER III. lis eyes lie room should held so But if raised not the and at 38 must and tlie side of ttly his When when PRODUCTION OF PURE TONES. 51. Pure tones are the healthiest as well as iiioit a^jreeable, both in Bpeakiii;^ ami sinking. All nasal sounds, InisUjiu.s, wheezing, or shrill or guttural sounds are impure, and arc caused by a wrong use of tlio orgaus of speech, and by defective breathing. ' MANAGEMENT OP THE MOUTH. 52. Let the teacher, before he commences to give his in- struction, study the processes of producing pure tones before a mirror placed so that the light shall fall on the back part of the mouth. If he sound ah in a deep full tone, he will see the palate and the uvula, or little tongue at the back of the mouth rise, while the tongue lies flat and the top of the windpipe or trachea descends. Let him then endeavour to sound ah with a nasal twang, and he will see the uvula fall and appear to touch the tongue ) this action closes the mouth and forces the sound into the nostrils. With this preparation for forming pure will be able to conduct the following sound, the teacher exercises : — Interior of the mouth when the tone is impure. Interior of the month when the tone is pure. I. Direct the pupil to open the mouth, as in Fig. 2. The uvula is raised ; the ton of tlio ^ larynx is depressed ; the root ', *'' of the tongue is de[)rossed. Fig. 1. Fig. 2. 53* The action is similar to that of gaping, and to accomplish it the pnpil is recommended "to think a gape." If the gaping does not suc- ceed, take hold — or imagine you are taking hold — of some heavy object, 20 DRILL BOOK. i •ml lift it with nil yf»ur mij^ht. This will raise the uvulft and widen to the noccs.sary extent the vocal aperture. The dark part of Fig. No. 2 •ihowH tliia opening; and as the action on this part of the pharynx pUHlicM it forwiirtl, it can l)u felt by placing the linger at the front uf the neck, close under the jaw. 54* Tlio larynx rises and falls as the voice rises and falls. This may be 8CCII in a mirror, and felt outwardly by touching the Adam's apple. Hence the im])ortanco of being able to control this organ at will, as all the grandest effects of the voice are accomplislied by this elevation of the uvula and depression of the larynx and the tongue. II. Tho mouth being fixed as described, (1) sound ah in the deepest tone; (2) sound ah one tone higher; (3) proceed up- wards to the highest note that can be sounded in pure tone ; (4) descend to tho lowest note, just as in the musical gamut. 55> The teacher should practise this exercise first himself before a mirror. He will then see the back part of the mouth contract as he rises in pitch, and expand as he descends. These are the conditions necessary to produce pure tone. A well-opened mouth, therefore, must be insisted upon, as it is indispensable to full pure tone ; a contracted mouth gives a contracted and nasal tone. 5& PURE TONE CONTINUED. III. Rules : — 1. Fill the lungs as usual. 2. Send the voice out in a straight column to the front of the mouth. 3. Keep the head erect, but not stiff, and the chest and shoulders firm and steady. Do not drag them up, or twist or bend them. Tho action of expelling sound, like that of speaking, is best done when it is gracefully done. Hence the effort is made by the working of the muscles of the abdomen and the relaxation and contraction of the dia])hragm, while the upper part of the chest, the shoulders, and the collar bone scarcely seem to move. V4k., DniLL nooK. 91 IV. Sound a/i us soundoil in "Ixtlni," ojudiing tlio moiilli sis in Fij,'. 1. Tlu) li[is!ir(!(lnnvn ^g^Jgj) back at each oiul an in smiliiig. licgiii tills luul all 8ucci.'('( ling auu mis very ^ ■S>'^V Y \^l^r / gently, increase tlio force \ ^ ^-^ / V ^f until the breath is half ex- \ y I ^^^^^^ haustcd ; then begin to ro- ^^^^^^'^ Fig. 1. duce the force, so that the Fig. 2. voice may scorn to tako an oval form, swelling in the centre and tapering off at the ends. V. Sound owe in the same way as No. IV., opening the mouth as in Fig. 2. The cheeks are brought nearer to the teeth, the two ends of the lips are not so far asunder as in ah, but the opening above and below is wider. VI. Sound o the same as the preceding vowels. The ference between the form of the month in this sonnd is that in Fig. 2 the lii>s are further apart, in Fig. 3 they are more protruded, and brac- ed and oval in form. Ob- serve that is diphthongal ; i.e., it ends in oo, as in tt»ol. VII. Sound 00, fixing the mouth as in Fig. 4. The lips are more contracted and [)rotruded than in the other exercises. VIII. Sound a as in male, Fig. 5. The lips are not oval but - N nearly parallel ; the teeth ^*^^ are displayed and the mouth presents along nar- row slit ; a is diphthongal, dit^ Fig. 3. ending in 6. Fig. 6. :iii 22 DRILL BOOK. IX. Finally, sound ee as in eel. Fig. 6. Ttio lips are brought nearer, the transverse slit being more contracted than in the last sound. 57* Wlien skill and correctness in producing each of the above vowel sounds, which really are the vowels from which all other vowel souads are derived, are acquired, the exercise should be often continujus^ passing without interruption from one vowel sound into another. 58. The teacher should warn the pupils against /orciwj/ the voice in this practice. When the sound is in any way impure or hai'sh, let less muscular effort be used. Soften down the tones. ill CHAPTER IV. VOWEL AND DIPHTHONGAL SOUNDS. 59. Correct and refined pronunciation depends very much on the right sounding of the vowels and diphthongs ; com- plete and distinct pronunciation on the right sounding of the consonantal. After the exercise on the last section, the pupils should be drilled in the other vowel sounds as given in the fol- lowing table. 60. The teacher will find it necessary to watch carefully the action of the lips, so that no ungraceful arrangement be made. Everv care should be taken to secure a correct and re- fined pronunciation, free from provincialisms ; and if the atten- tion be fixed on the examples attached to each vowel, and the sound of the vowel accord with the example, the proper sound will follow. VOWEL SOUNDS, OB TONIC ELEMENTS. Table No. 1. 61. SIMPLE VOWELS. ^ 1. A, as in arm, bolm. 2. A, as m at, can. i '-^''^i DRILL BOOS* 23 8. A, as in all, law. 4. E, as in eve, tha^ 5. E, as in err. 6. E, as in end, met. 7. I, as in in, charitj. 8. O, as in or, form. 9. O, as in on, cot. 10. U, as in up. 11. U, as in hull, fwlL 12. 00 (long), ooze, moon* 13. 00 (short), look, book. 62: COMPOUND VOWEL0. 14. A, as in ale, compounded of a and e. 15. I, as in ice, compounded of a, in far, or u, in run, and i, in it. 16. O, as in old, compounded of o and 00. 17. OTJ, as in our, compounded of a, in at, and 00. 18. 01, as in oil, compounded of aw, in all, and i, in it. 19. XJ, as in use, compounded of ee and 00, f:z-:r 63. EXPLANATION. A in ale is compound, as in a correct and refined utterance the vanish or final sound passes into ec In the north of Ireland and Scotland the vulgar sound of this letter is given without this final ee, which gives gate the sound ap- proaching get, the e being prolonged. I. In the north of England and in some parts of Ireland % m pi-onounced like oi in point. Thackeray illustrates this in the ■I! 24 bittLt BOO^. I I :i conversation of Captain Costigan in " Pendennis/* The anft^ lysis of the sound shows it to be compounded of a in an, or, as Vandenhoff more correctly maintains, u in run, and i in it. When pupils mispronounce the a in gate, by omitting the vanishing e, let them sound the following combinations : — Ga— eet (gate). Fa— eet (fate). Ra— eet (i-ate). The a is sounded as usual, but the ee follows quickly and ra- pidly in the vanishing sound. 64. When the I is sounded like oi, the pupil should com- bine the elements slowly at first, then rapidly, as iu — in (fine)j sounding the u like u in fun, and the i like i in it. O properly sounded finishes or vanishes in a slight tendency to 00 as in moon, as Oodd. In the south of England, and especially in London, the people introduce the sound of e in get before o. Thus tone becomes te — un ', the e like e in met. Ou is compounded of a in an and 00 in moon. 65' Vulgar pronunciation often leaves out tJie final OO before r ; thus our is pronounced like ar. In London and in New England the sound of e in met is introduced before the oo, in- stead of Italian a ; as he — OOS (house), sounding the e like e in met. 66. Correct by changing the & sound to a sound, as in at. 67. Oi is compounded of a in awe and i in it. U is compounded of i in it and 00 in ooze. 68. Attention should be given to the true SOUnd of short i {No, 7y taJ)h o/voweU) in such words as charity, ability, &C. :S::'^jJSl!U^-^ DtlktL Boot. 38 The general practice in this country is to sound the i in such combinations, like u, and words of the above kind are pro- nounced charuty, abiluty, and even " it" is often pronounced ut. The same vulgarity marks the pronunciation of become, be- fore, behold, &c. These and similar words in which the short e should be sounded like short i, are pronounced even by the educated classes as if spelt buhold, bucome, butween, ' instead of bi-hold, bi-come, bi-tweeU; the i being sounded as i in tlL «^ CHAPTER V. VOICE PRACTICE ON VOWELS. 69. All the vowels in Table No. 1, par. 61, should in suc- cession be used in the exercises that follow. Pure speech tones are always best acquired by practice on these elements, I. Assume the proper position. Inhale through the nostrils. Expel the breath with sudden and great force, uttering the sound Ho in half whisper and half voice. Repeat three times, II. Inhale as usual. Let the mouth bf opened as wide as possible, the palate raised, the larynx and base of the tongue depressed, the lower jaw dropped. Then sound with each breath inhaled the following vowels and the illustrative words that follow them. The sound of each vowel and word should commence softly, advance to greater force, and then soften down again at the end, 1. A. Arm, calm, palm, alarm. 2. A. Awe, all, call, pall, fall. 3. Ho. Flow, go, row, lo, knov. 26 DRILL BOOR. W h '; % i IP 'i 1 4. Go. IIoo, coo, I'lio, do, pool. 6. Oo (short). Book, look. 6. A. Way, gay, main, thane. 7. E. (loHfj). Eol, seal, peel, reel. 8. E. (short). End, err, ell, elin. 9. I. (short). It, city, pity, ability, 10. O. (short). On, God, sob, sod. 11. U. Up, urnj^unto, under. 12. U. Bull, pull, put, full. 13. I. (long). Hind, wind, mine, sigh. 14. Oi. Oil, foil, toil, coil. 15. Ou. Our, power, dower, coward. 16. U. Hew, due, infuse. 70. ^arious Methods of Practice. I. After the practice indicated, par. 69, II., sound each word and vowel in a powerful and distinct whisper. II. Pour them forth as if calling to a person afar off. 7X. Explosive Practice. III. Sound the vowel ah twice in a whisper, and the third time in voice sound as explained in par. 49 . 72. The effort is quick and loud when converted into sound ; clear and cutting like a pistol explosion. The pupil should take care to convert all the breath when made vocal into full pure sound. By placing the hand opposite and close to the mouth, he will feel the wasted breath when the sound is impure. It is important both for health and purity of tone, that all the breath in this part of the exercise should be converted into sound. •»' 1 DRILL BOOK. ora After a little practice, the pupil should endeavour to give as many as forty or fifty exercises with one breath inhaled. IV. Sustain each vowel sound as long as the breath will hold out. v. A.ttack each vowel sound suddenly, and quit as suddenly. VI. Increase and diminish the force of each sound alter- ( nately. VII. Sound each vowel (1) with a rising inflection. (2) with a falling inflection. (3) with circumflex inflections. {See Article Inflection^ Sec. III.) ANALYSIS OF VOWEL SOUNDS ACCORDING TO LENGTH OR QUANTITY. 73. There is an analogy between certain vowels, dependent upon the time occupied in their utterance. Certain vowels, which must be rapidly uttered, appear to be derived from others which allow and demand a longer time for delivery. Phono- graphic, which is the same as phonetic vocalization, depends on this analogy, and a careful distinction between long and short vowels is necessary to the best delivery. 74- Vowels arranged according to Length. rd i; te re t It Long. 1. A— rm. 2. A— 11. 3. A— le. 4. Ee-1. 5. U — rn. 6. Oo — zo. Short. An, A-bk. 0—11. E-11. I-H. U-p. Foot, Bull. 75- Caution. — The tendency to sound i like u in such words aa diarUyt has been noticed. There is also a similtu* tendency If 2& DBILL hOOlL Mf: : i to sound e and o, when slioit, like u, an in the following ex- amples : — Elegant is pronounced Elegwnt. Abundance u Abundwnce. Agony- u Agwny. Enemy it • Enwmy. Event u fTvetit. Ruin u Roon. Poem tt Powm. Content. nent u Contentrawnt, ■t\\ ^' kc., kc. 76. The following two modes of practice for acquiring a cor- rect utterance c \ '^'■els i^ ^'^commended : — I. Take a spelling book ov dictionary; select all words con- taining vowels wrongly pronounced, and bound the words syllable by syllable ; then repeat the word, II. Select any sentence, and direct the class to soimd every vowel in each word exactly as it, is sown/led in the word, and let the pupils name the number in the vowel table, par. 61, opi)Osite to the vowel. Example. 10 17 « 1 10 10 3 V» 2 2 7 The cloud-capped tow-ji-s, the gorgeuus palaces, 10 9 n 6 10 14 u 1 n The solemn temples, the great gloiKi itself, 14 3 T7767 2 79 Yea, all which it inherit, shall dissolve, 1 16 7 10 10 2 10 2 fl 14 • And like this unsubstantial pageant faded, 4 g a 3 7 16 Leave not a rack behind. DRILL BOOR. 29 J ex- 10 77. Explanation.— The 10 over e means that e is sounded like the vowel u No. 10, which is the rule for its sound in the before a consonant ; 17 over cloud means that OU is sounded as the compound vowel No. 1 7 ; and so on to the end. The pupil should read a line first, then sound the vowels of that line as marked above. This practice can be applied to all the reading exercises, and should be frequent. cor- CHAPTER VL 3on- )rds cry md 61, ARTICULATION, 78. Articulation means the correct and complete sounding of the consonants in words. Correct articulation makes the words understood, and is therefore indispensable to intelligible speech. Certain consonants allow the voice to dwell upon them ; hence they are important instruments for express- ing time, inflection and emphasis. 79. The full sounding of consonui !s is greatly neglected in music, as the voice of the singer only dwells on the vowels; whence vowels are called in the music of song the elements of quantity. But although consonants cannot be sung — i.e., dwelt upon — in music like vowels, they ought to be uttered as completely as in speech. Attention to this law forms a part of the elocution of music, and is never neglected by the best class of vocalists. In speech, however, consonants, especially the liquids I, m, n, ng and r, are proper elements of quantity, and by their full and distinct utterance the language of the speaker becomes expressive and is understood. T 80 DRILL BOOR. i' 80. BULES FOR PERFECT ARTICULATION. I. Have the lungs well filled, and never attempt to speak with empty lungs. IT. Never send ont the breath be/ore the sound of the letter or word. III. Always move the muscles of the mouth and the tongue and jaws with force and quickness. IV. Let the action of these organs when uttering a letter sound be always equal in force to the force with which the breath is expelled, i. e., to the energy intended for the voice. V. Avoid making faces, pushing out the lips, or twisting them ungracefully about. VI. Open the mouth wide enough to admit at least one finger between the teeth. VII. Always drop the lower jaw when sounding a letter or word. 81. ARRANGEMENT OF CONSONANTS In the Order of their Formation. Atonies or Aspirants. mne. Sound. N^ame. Sound. P as in ip. pop B as in ebb, bab Wh why W ' way F if, fif V ' iv, revive Th ith thin Th * ith, thither 8 iss, sis Z ' i], zuz, nose T it. tat 1) id, dfd Sh ish, shush .Zh * azure, vision H ha, ha Y yay K ik. kik G « eg;,', gig edge, judge OH such J • Sub-tonics or Sub-vocals. DRILL BOOK* 81 Liquids. Name, Sound. one M as in N <( L «i E (initial) « Pv (final) i« Ng Null, dull, done, blood, young, touch, fulsome, punish, covert, combat, cousin, southern, Bovereigu, covetous, enough. XI. U us in bull. Full, put, push, would, wood, foot, soot, book, pulpit, cushion, woman, wolsey, butcher, ruthless. » XII. Oo as in ooze. Cool, fool, rule, moon. 102. COMi'OUND VOWELS. I. A as in gay. — a -f- e. Bathe, grange, i>ay, vijins, deign, angel, ancient, inveigh, fatalist, bravado, umbrageous. II. I as in ice = a -{- 5f. Time, high, sigh, viscount, guide, idyl, isle, mankind, condign, l>uradisaical, hypochondriacal, satiety. III. O as in old, 0—00. Cope, dome, gold, shew, sew, beau, yeoman, prologue, so. jonrn, goal. IV. Ou as in now -= a + 00. Power, our, endow, found, hound, shower, thousand, row. V. Oi as in joy = awe -f i. Broil, foil, toil, enjoy, alloy, boy, buoy, embroil, coil, astound. VI. U as in dew = i + oo. Tune, fume, view, beauty, feudal, duke, duty, dew, jew, pursuit, presume, cubic. 103. Vowel exercises an-anged in the order of their Idiiua- tiou, and according to their analogy, as recommended by Dr de DRILL BOOS. Hullah :* — Palm, pole, pay, pool, peat, daunt, woe, tale, rue, cheer, master, zone, fail, moon, hear, gape, low, gate, woo, theme. " TJie pupil should begin with and often return to the practice of aa (as in balm). Begin with it because it is the easiest, and return to it because experience has shewn it to be the most useful. The practice of aa had best be followed by that of o, and that of o by that of a. Oa had better follow, and e, " incomparably the most dillicult, attacked last." Dr. Hullah. 104. The following is a test exercise, presenting a miscel- laneous collection of vowel sounds. The pupil should be directed to sound the vowels first, then the word. The teacher will find it useful to select other passages from the reading book for practice : — Group, rude, audacity, prayer, parent, before, field, pier, pool, lake, people, philosophy, am, wonder, matrimony, fume, student, undo, foel, oil, crew, confound, crystalline, idea, con- cise, diameter, lance, steady, been, busy, bought, asteroid, labor, error, acrimony, facility, obey, monday, elegant. i CHAPTER VIIL 105. CONSONANT PRACTICE. 105. Pronounce each of the following words: — (1.) Slowly taking breath between each word. (2.) Ra})idly and energetically. (3.) In whispers. (4.) Ne^'^er fail to complete the sound of every consonant. Tliu Cultivation of the Speaking Voice." By Johu Uulluh. DRILL BOOK, if woo, The complete sound is secured by re-opcning the mouth and causing the tongue to rest flat at the bottom, when tlio word is finished and before beginning another ; i.e., restore tho vocal organs to their normal state after sounding each word. io6. Breath Consonants (Atonies). Pity, pulp, peter, paper, fitter, falter, filter, laugh, rough, thin, tent, taller, elk, wash, post, posts, health, height, milk, nymph, strength, call'st, roH'st, heal'st, tost, trusts, straightest, sect, church, shrine. Here files of pins extend their shining rows, Puffs, powders, patches, bibles, billet doux, Abase the city's best good men in mete ■, And laugh at peers that put their trust in Peter. 107. Voice Consonants. (Sub-tonics.) In tho words beginning with a voice consonant followed by i or r, take care not to sound a vowel between, as Bulame for Blame, Burave " Brave, '" Elura « Elm. Blame, bleed, blow, blest, brave, bread, drain, barb, orbM, disturb'd, gorg'd, barr'd. The barbarous Hubert took a bribe To kill the royal ba})e. Bulbs, delve, eggs, stabb'd, builds. He gave a guinea and he got a groat. A giddy, giggling girl, her kinsfolk's plague, Her manners vulgar and her converse vaguo. Deadly, adjudged, fatigued. 38 DRILL BOOK. II II ! io8. Difficult Double and Triple Consonant Endings. Wasp, alps, gulfed, ingulfed, tenths, strengths, lengths, ringst, depths, droopst, laughst, asps, lielpst, twelfths, attemptst, thinkst, precincts, overwhelmst, sixths, tests, worlds, charmst, robbst, diggst, writhst, hundredths, beggdst, catchdst, actst, liftst, meltst, touchdst, bursts, tasks, grasps, puzzles. 109. Difficult Articulations. The teacher may increase these exercises to any extent. The object to be kept in view is to give such practice in difficult combinations of letters as will secure a facility and correctness of pronunciation. A selection of hard words presents the best practice to accomplish this important object. no. The following combinations are taken from A. Melville Bell's " Elocutionary Manual," and, although meaningless, they form an excellent and amusing practice. 111. They should be read first slowly and then very rapidly, but always with the utmost finish of pronunciation : — 112. A paltry portly puppy. Pick pepper peacock. A bad big dog. A big mad dog bit bad Bob. Kate hates tight tapes. Geese cackle, cattle low, crows caw, cocks crow. Kate's baked cakes. Put the pot on the top of the poop. The bleak breeze blighted the bright broom blossoms. A sloppery slip- pery sleety day. The kitten killed the chicken in the kitchen. She says she shall sew a sheet. The sun shines on the shop signs. A shocking sottish set of men. Such a sash. A shot- silk sash shop. A short soft shot-silk sash. Shilly-shally, silly Sally. It's a shame, Sam ; these are the same, Sam. 'Tis all a sham, Sam, and a shame it is to sham so, Sam. They thrust it through the thatch. Thrice the shrew threw the stool. A swan swam over the sea. Swim, swan, swim. Well swam, swan. I snuff shop snuff. Do you snufi" shop snufi" I 1 ii DRILL BOOK. 89 She sells sea shells. A rural ruler. Truly rural. Literally literary. A lucent rubicund rotatory luminary. Lucy likes light literature. A little knitting needle. A menial million. A million minions. A million menial millions. We shall l»(» in an inn in an instant. Don't go, Ann, in an uninanimated oaanner. t 113. Laid in the cold ground (not coal ground). Half I see the panting spirit sighs (not spirit's eyes). Be the same in thine own act and valour as thou art in desire (not thi/ knoion). Oil the torment of an ever-meddling memory (not a never-med- dling). All night I lay an ice drop tliere (not a nice drop). Would that all difference of sects were at an end (not sex). Goodness centres in the heart (not goodness enters). His crime moved me (not cry). Chaste stars (not tars). She could pain nobody (not pay). Make clean our hearts (not lean). His beard descending swept his aged breast (not hcer). 114. Difficult Combinations. (From Plumptr^s '^ Elocution.") The ineligibility of the preliminaries is unparalleled. Such individual irregularities are generally irremediable. He acted contrary to the peremptory injunctions that were given. We alienate many by requiting a few with supernumerary gratuities. ^ Rising simultaneously at the irreverential mention of their leader's name, they swore revenge. An inalienable eligibility of election, which was of an au- thority that could not be disputed, rendered the interposition of \\i^ fr\end.s alto^^jther supererogatory. ' |) ! hf SECTION TIL CHAPTER I. Modulation. 115, The MODULATIONS of the speaking voice consist of pitch and INFLECTION. 116. The pitch of tlio voice varies as it is high or low; and as those variations embrace all the steps of the musical scale, that is, the seven notes of the gamut, it is a most \isoful and necessary exercise for cultivating the ear and for acquiring facility in executing all the variations of i)itch to practise the pupils on the musical scale. This practice is simple, and re- quires very little musical knowledge cither in teacher or pupil. The compass or extent of the speaking voice rarely passes beyond seven notes — that is, hoven gradations of sound. As the voice moves onwards in sj)cech its variations are few, unless the speech be uttered under the influence of strong passion. But even then the variations are not so frequent nor 80 great as in music. In nnisic the voice will rise and fall incessantly in every sound made, and sometimes the variation will be that of an octavo or more — that is, will leap upwards or downwards over seven notes. In speech the changes are gradual. Many woi'ds, a whole series of thoughts, may bo ut- tered on the same level, and when the variation is requisite it rarely extends over more than two or three notes. This ex- planation refers to what is called change of pitch. When the variation is applied to inflection, there is no interruption be- tween the passage of the voice from a lower to a higher sound, as in music. It is concrete — that is, continuous ; while in mu- sic it is discrete — that is, bioken up into parts. \\\ VI DRILL BOOK. 41 PITCH nor 117. Aa the inflection, however, is derived from pitch — that is, from the gradations of notes — some knowledge of pitch is neces- sary. If the teacher can start these notes with his voice, com- mencing with such a low note as ho can conveniently sound, and if he can then with any degree of correctness rise a note higher, and another, and another, until he has counted seven ; and if he can then descend in the same manner ; he has accom- plished almost all that is necessary to train his pupils in the variations of pitch. If his voice and car — for the ear forms a very important element in the pj-actico — are so dull that ho cannot master these preparatory exercises, a very simple musical instrument will aid him. If he has access to a piano, the fol- lowing diagram and explanation of its parts will servo the purpose: — ' 118. The Key Board of a Piano. 3 4 u 9 10 11 12 1:5 U 15 Hi 17 IS lit 20 21 II Hill 3 4 7 The white kevs are sot off in series of sevens, with the black keys behind them. No. 1 and No. 2 may be known on the piano by having behind them the two black keys, followed by an ojicn space without a black key ; then follow three more black keys. Now, if the student strikes the first of the three white keys in front of the two 1)1 ack keys ho will get a sound which commences the series of a gamut. If that sound be too high or too low for his voice, he must descend or ascend until, as far as he can judge, he has struck the })roper note. Let him do his best many times, listening carefully to make his voice accord with this note of the piano. Notes Nos. 1 and 2 are full tones ; when he passes to 3 and 4 a semitone connects them. All the 42 i>RILL BOOK. If •lii \i black koys are semitones ; but jw No. 3 is a semitone it needs no black key. All the student thon has to do is to strike tbo white key immediately below the pair of black keys, and from that key to practise seven notes up and down.* 119. The following scale is recommended for drilling a class in the modulations of Pitch. The teacher may write it on u black board and lead with his own voice. He should however, endeavour to sound the tone as in speaking rather than as in music : — SCALE FOR PRACTICE IN PITCH AND TONE. Directions. I. Ascend slowly, dwelling on each note while you beat four counts and two counts. Take a quiet breath v. here the rest is marked. ^ II. Descend in the same manner. III. Repeat up and down from four to six times. Let the voice swell towards the centre of the s«Dund, but avoid all force* IV. Observe all previous rules for the management of the voice in this practice. Open the mouth well, and let all the breath poured out pass into pure voice. * Xhoso IviuttS »rc uttciiile4 (or tfac; t£apb«r^ m i needs ike the d from El class t on a liould ratljer 1^ "o- four st is the rce* the the DBILL BOOK. Reading Gamut IS 120. The practice of the last exercise will prepare the pupils or tlio modulations necessary to expressive reading. The next exercise changes the practice from the simple vowel sound "ah" to sentences. The object of these two exorcises is to overcome the monotony of school reading and to acquire skill in varying ' the pitch at will and according to the nature of the sentiment and sentences. Poetry is better than prose for this practice. 121. The scale on }). 44 illusti-ates the method, and will servo for any kind of composition. EXPI.ANATION. 1. Let the lowest key-note be sounded. Then read the lowest line on that pitch. 2. Strike the next key-note and read the next line on that level. 3. Advance in this manner to the highest step of the gamut ; then descend. 4. Commence again at the lowest step, and read alternate steps, taking care to sound the key-noto of each step to bo read. 5. Descend in the same manner. « 6. Give every variation of pitch— that is, give the lowest, then the fourth, then the seventh, and so on — to acquire facility in clianging the pitch at will. It is quite enough to practise within the compass of the seven pitches, and the pupil should never ascend so high as to con- vert the voice into a disagreeable and unnatural tone like # acream (falsetto J^k 44 DRTLTi BOOK. Gamut for Varying the Pitch of the Speaking Voice. i> 1 lOtli. R—iiri. John, Rct up, j'ou lazy hoy. Falsetto. 9th or 2iul, full tone. D-re. C DO. Ill the lost hittlo hornp down hy the flyin;;, Where uiin';lus war's nitile with !,'r'"ATii! of the ilyinj,'. liij^n wallin}( tone like a chant. Slh (octave), full tone. Up, conu-adct ! up! in Itokehy's halls Ne'er he It siiiil our coura^fe falls ! Very hij.'!!, for joy or alarm. 7th vitcli, Bciiiitoiio. l$-.si. f)li meiey ! ilispel Yon si^rlit, that it, l'icuZ(,'.s my spirit to tell. IIi;,'h, for patlios. CMi ))iteh, (u;i tO!10. A - la. To nnns ! to arms ! to arms ! they cry, Cra-p the sliielil. ami -Ir;- w the sword ; lA'ad us to l'liiii|'i>i's lord, Let us eontjucr liim, or die. High tone. r)th pitch, full tone. Q-kol. Come one -Come all ! This rock shall fly From its llrni lase as soon as I. Bold and domi- nant tone. 4th i)itoh, full tone. F fa. Oh, how wretched la that poor man that hanys on princes' favors. Grave tone. 3nl i>itch, seuiilono. E~iiii. 'Tis the eternal law that where guut is, Sorniw shall answer it. I'atiios and so lemnily. 2n(l jutch, full tone. D— jv. Oh look, my son, upon yon sign Of the Redeemer's yraee Divine. Reverential so- leuuiity. 1st pitch, full '.one. C-EO. If this same were a churchyard where wc stand, And thou i)0s;icssed with athousand wroi);4.s. Deepest tone of a-.vo. I - ikingf tto. vailing' tdiie ! :i cliaiit. ij,'h, for joy Alarm. I or I'Ullios. ino. tone. no. nd 80 y. al so- y- ono of DRILL BOOK. ClIArXER II. INFLliC'TION. i6 Difference of Inflection from Pitch. f 122. Pitch. — When wo sing a tnno thn voice passes from one note to another — from low to hiijh, and higli to low — witl' a distinct intcrrujjtion between each sound. This illustrates the change of pitch. Sometinu^s, liowever, the voice moves from one note to another without any interrui>tion, called a slur. This conveys an idea of Inflect Ivu. 123. Inflection is a continuous slur or movement from one note to another, without any break between. It is heard in very earnest questioning or denial, and es[)pcially in questions and denials of children, whose flexible voices pre- sent the best examples of inflection, and arc therefore the easiest and best for training in the music of speech. 124. In practising the following scale, the pupils must sound the lowest note,, and pass to the next without pause or breath. They are then to commence again with the lowest, and continue the sound until the third note is reached, in musical terms the voice slurs from a first to a seCOnd ; then from a first to a third ; then from a first to a fourth ; and so on until the sound has slurred over an octave, or from the lowest note to the eighth above it. t 125. Next commence with the highest note of the scdo and Blur one note downward; commence again and slur two, then three notes, until the voice has run down from the highest to the lowest note of the scale. Ill 46 DBILL BOOK. PRACTICE IN INFLECTIONS. ( ^:ii ii nil 4 P^^^P^ ah ah •h ah ^^^^^^^m^^^] ah ah ah :^- ?:=:&: ii^zz: ;£ S: ah ah ah ^^^Hi^i ah -I-H 1 r^ ah ah 126. In this practice there must be no break or false note, no jumping from one to another, but throughout a soft and gentle flowing of tone. Untrained voices, especially those of adults, will often fail in this exercise, and the effort will be marked by breaks and false notes. In all these cases teacher and pupil should patiently recommence and steadily renew the effort until a pure inflection can be accomplished. 127. If the teacher can use the violin he may guide his pu})ils with great correctness. ** When the bow is drawn across the string of a violin, and the finger at the same time gradually moved with continued i)ressure on the string from its lower at- tachment to any distance upward, a tneivini/ sound, if 1 may so call it, is heard. This movement of pitch on the v^olii^ in termed a slide." — (Dr. Rush.) DRILL BOOK. 47 lote, and e of 'ked upil Jbrt I)iJs the Lily at- so iti CHAPTER III. QUALITY AND FORCE. 128. A voice of good quality 13 clear, pure, and musical nn n bell. It is free from huMkinosH and gruffness on the utiu Iiand, or iiarHh loud* noss on the other. It is not heard as if proceeding from the noae, nor half mingled with breath as if the speaker were gasping with exhaus- tion. It issues round and full-toned through the well-opened mouth, and is ever modulated and toned to the nature of the sentiment it utters. It is soft and tender, and full of sweetness and pathos ; it is solemn and flowing as the tones of an organ, in prayer and counsel and eloquence and sublime poetry ; and in wrath or great vehemence it still exhibits purity, but marked by great power and grandeur. Z29> A voice of this kind is rare, bocuuso no attontion is paid to its culture ; but if the training cojumencea in youth ;iiid the practice is regular and systematic, all voices may aociuirc groat oxcollence and power of expression. Let the practice, if possible, Iju daily. Ten minutes a day would in the course of a few months jtroduce the best re- sults. This praclice consists in sounding the vowels, especially ah, on the scale. Par. 119. 130. The following conditions should also be carefully ob- served: — I. Inhale through the nostrils. II. Acquire the habit of keeping the mouth closed wlicn sleeping, walking, or silent. III. Never speak before the lungs have been moderately filled, and keep up the supply by constantly and frequently breathing. 3V. Raise the soft palate and widen the back of the mouth. V. Stand erect, with head elevat.ed andshoulders thrown back. VJ. When driving out a sound, especially with great force, keep the head and suoulders still; almost rigid, but not stiflf, and i I! I ; ;i 48 DRILL BOOK. luL tlie offort of expelling the sound bo made hy the muscles of the abdomen and the diaphragm. Untrained jjupils will at first, jerk out the word and commit other ungraceful acts which must at once and entirely be checked. 131. The pnictico should be chiefly with the vowel a (ah), iuul when facility of practice has been acquired, the pupil should take up the other vowels, always commencing with the most oi)en (a) and advancing to the narrowest and closest (e), us in the table on page 4G. I. Send out a powerful stream of sound, directing the voice to some distinct object, as if shouting — S/i'j) ahoy ! dwelling a considerable tiiuu on the sound hoy. II. Hopeat this effort at least six times. THE OROTUND VOICE. f i- 132. This is the gramlust quality of tho speaking voice. It is arti- ficial—the result of cultivation ; but wlien acquired it can be longer sustained, with less fatigue and with better effect, than any other quality of voice. 133- Let the pupil conceive what is dono when we yawn or ^ape heartily and loudly. The uiouth i j opened very wide, so as ahuo,it to dislocate tlie jaws, and is held a moment in that position ; then we gape aloud, and if we listen we shall hear, as it were in tho middle of tho gape, a full vocal sound. Now, this will help us to fix the mouth for the practice of the orotund voice, for if that vocal sound heard in the centre of the gape be forcibly continued and freed from the asjtiration which commences the general yawn, we are engaged in practising tlio orotund voice. 134 Children frequently, in the loud expression of natural joy oi sion, when tlio voice is forced forth in a clear loud singing tone, giv. amples of tho orotund (quality ; and when adults are deeply moved by courage or deliglit or hatred, and yet control their feelings, the voice at- taiua it^j purest quality aud ofteu becomes orutuiid. DRILL nooK. 4ft 12$, Practice for the Orotund Voico. I. Let the pharynx, or back of the niuiilh, Lo well cxj>aiulu(l, The tongue depicshiCLl. The uvula raised. The top of the windpipe (larynx) depressed. The breath or voice be directed in a vertical stream, with greater boldness and firmness than in common usage. II. Observing these regidations, turn to the gamut, p. 42, and practise up and down with the full sound ah. III. When facility has been acquired with ah, take the other vowels in the order indicated in paragraph 119 ; as, ah, o, a, 00, ee, first sounding these vowels several times separately, then con- tinuously. IV. After good practice on the vowels, take any of the word 4, the most sonorous first, on p. 101-2, and practise with them. V. Finally, read the following passages (1) by monosylla- bles ; (2) by words ; pausing and taking breath frequently after ea"!: word ; and when each separate word can be delivered in this voice, try to read the whole passage naturally in the same tone : — High I on I a I throne | of I roy|al | state | which | far Out I shone | the | wealth | ot | Orjmus | and j of | Ind, Or I where | the | gor|geous | East | with | rich jest | hand Showers | on | her | kings | )jin|barjic, | pearl | and | gold, Sajtan | exjaljted | sat. Any Jier similar passage will serve tlie pur|'«»se. 50 DRILL BOOS. Hi ■V. i ,')'! r , 136. "The pupils will often be able to give the orotund quality to vowels and syllables ; but when attempting to alter a sentence the colloquial tone will retuin. Continued practice, however, with a gradual increase in the number of syllables, will render the uninterrupted expiration of the orotund as easy as that of common speech." — I)r. Hush. 137. These exercises a^-e not necessarily low. They may be practised on every pitch of the voice. It ' |i I 1 • h CHAPTER IV. Force or Stress. 138. Force or stress means the strength or loudness of a voice. Height of voice means elevation of pitch. Loudness means the power exerted to make ourselves heard. 139* Force does not, however, mean groat shouting, but such necessary and proper energy as the nature of the sentiment demands. A passage marked by calmness, or gentleness of sentiment, may have expressions demanding comparative energy, and the various forms of force applied to theso expressions will ^ive tlie necessary effect to make the reading a just interpretation of the thought. When, however, the passage is dramatic or oratorical, and embodies a powerful emotion, the grandest effect can be given to it by a proper exercise of strCSS. The student must also understand the great distinction between mere vulgar shouting and that force of voice which is powerful and full of energy, yet is free from harshness or coarseness. We often hear powerful voices which only create a painful and wearying impression ; but whan tlie power is directed by art, its oU'ect is always impressive and delightful. 140. An improper and unscientific exercise of force oftrn marks the delivery of pu])lic spealicrs, and conduces more than any other cause to injure tho vocal organs and often to ruin them for life. On the other hand, however, proper discipline and culture develope their powur aud impi'ove the general health. 4 ^:^: 9 DBILT. BOOK. 61 he orotund ng to alter 3d practice, f syllables, ind as easy oy may be idncss of )f pitch. ourselves I necessary A i)assago xprossions applied to reading a 'assage is grandest B student shouting ot is free Rs which Jower is arks the cause to le other tvur and I4X' In practising the exercises in Farce it is important that the pupils should always commence with moderate energy, until ease and correctness of execution have been actjuired. They may then conuncnce with the most powerful forms and end with the milder ones. I42. When practising the energetic form, all tendencies to violence should be checked. If the pupils cough, the throat is irritated and nn- , due violence has been committed. When this happens, they should rtst, or change to some other exercise. , 143. There are three leading forms of stress, viz. : 1. Radical Stress. 2. Median Stress. 3. Vanishing Stress. RADICAL STRESS. 144. I. This term is used because the force of the voice fs loudest and greatest at the beginning or root (radix) of the sound. It is sudden and quick, and the opposite of a lazy drawl. The breath is held " barred and accumulated" for a moment, and then sent out suddenly with a clear, dis- tinct, and cutting force. It gives liveliness to the delivery, and is adapted to all cheerrul and joyous expressions, and when exercised with the fullest power, to words of command or alarm. 145. Suppose this effort of voice could be pictured, it would have this form : — > > > Arm ! Arm ! Arm ! 146. Practice. 1. Sound ah quick and loud six times. 2. Sound ah quick but not so loud six times. > > > > 3. Sound ah — ah — ah- ah rapidly, as in a ringing laugh. tm 52 DRILL BOOK. I ! i 11 ■ ( it 1 4. Sound all the vowels on p. 22, par. 61, in the same manner as (1) (2) (3). 0, Speak the following i)assage with energy, but giving the radical stress only to tlio words in italics. Passionate Hadical : — > > Up ! comrades, up ! in Rokeby's halls, Ne'er be it said our courage falls. Unimpassioned but cheerful : — > > > Oh, then I see Queen Mab hath been with you. > > She is the fancy's midwife) and she comes > > > > In shape no bigger than an agate stone > On the fore-finger of an alderman, > > > Drawn by a team of little atomies > > Athwart men's noseS as they lie asleep. Alarm : — " While throng the citizens with terror dumb, Or whispering with white li})s — > > > ' The foe, they come, they come ! ' " Hatred and contempt — Fullest power op the radical: — > "You common crv of curs ! whoso breath I hate." > As reek o' the common fens, — whose loves I prize > As tiie dead carcases of un})uried men, > > > That do corrupt my air,— " I banish you." The radical stress is synoiiynious with " attack " in music. ( DRILL BOOK. 5S MEDIAN STRESS. 147. The voice begins ([)iano) sortly, swells as it advances (foite), and then tapors olF to (piano) softnocis. It is synonymous with the ''swell" in miisio It may be pictured thus : — t i <> <> ! Ah, ah. 148. Practise on the ganiut, par. 119, with ah and then Avith the lon<,' vowels. This quality of voice is the most iini)Oit;int of all to cultivate, as it is most demanded on all solemn delivery. 149. Besides the above initial practice, select the most solemn passages in the Readers, Wolsey's Farewell, Clarence's Dream, Richard's Despair, etc. ; the Psalms and Prophecies of Isaiah; the xvth of I. Corinthians, and Paradise Lost, Books I. and II. 150. " The median stress sets forth intensity of voice with greater dignity and elegance than all the other forms of force." — Dr. Hush. 151' Caution. — The teacher must guard against a common fault of swelling upon everi/ word, which when carried to ex- cess is called " mouthing." Sometimes, too, the voice passes into a chant or sing-song. The special force is given to leading words, nouns, verbs and adjectives. VANISHING STRESS. 152. In this exercise the force of tlie voice is increased to its termination. It is the opposite of the radical stress. It is similar to the " pres;-;uro " tone in music ; but it ends more abruptly. In the practice the pupils should be directed to be- gin the sound ah gently, and then as the voice grows in force terminate suddenly with an energetic push of the breath — that is, with a sudden impulse of the abdominal muscles and the diaphragm. I I I fi 54 DRILL BOOK. I 153. This force has been compared to a hiccough, and to the " bark of a dog threatening to bite," or to the tone of a peevish < < child saying, I wont, I shant. It may be pictured thus : — < I wont. 154' Practise with the vowels as usuah Read the following passages, giving the vanishing force to the marked words : — < < < Thou slave ! thou wretch, thou coward, < Thou little valiant, great in villany ! Thou ever strong upon the stronger side, < Thou fortune^ s champion /" < And Douglas, more, I tell thee here Even in thy j)itch of pride, Here in thy hold, thy vassals near, I tell thee — thou'rt defied. And, if thou said'st I am not peer To any lord in Scotland here — Lowland or highland, far or near, < Lord Angus, thou hast lied. DERIVATIVE FOllMS OP STIllCSS. 155. The derivative forms of stress are termed— 1. Thorough stress. 2. Compound stress. 3. Intermittent stress, or tremor. m DRILL BOOK. 55 156. Thoeouoii Stress.— Tliis is tlio combination of the three modes : radical, median, and vanisiiing stress. The voice begins, continues, and ends with the same energy. It is the natural tone of shouting to call attention:* Ship ahoy ! Fire! Fire! Fire! I " Princes, potentates ! Warriors, the flowers of heaven ! Once yours, now lost I Awake I Arise ! or be for ever follen !" "Rejoice, ye men of Anglers, ring yoitr bells ! King John, your King and England's, doth approach j Open your gates and give the victor way ! " 157. All the words of these passages demand the thorough stress, but the greatest force is given to the words in italics and black type. 158. Note. — The teacher should understand that this is to be an energetic and vigorous shouting exercise. The pupils should stand ; the chest must be expanded and well filled with air ; the mouth well opened; and while violence must always be avoided, the utmost force of voice is demanded to give effect to the practice. Performed under thest; regulations, the exercise is invigorating and agreeable, and calculated to give great strength to the lungs and volume to the voice. COMPOUND STRESS. 159. This is the union of the radical and vanishing stress on the same word, syllable, and even letter. It is as if we started • (( With like timorous accent and dire yell, As when, by night and negligence, tlm Jire la apied in populous Gitioa."— Othello. 'is 1 1 ! i : 66 Drill booS« the sound of ah with the sudden force of the radical stress, then continuing the sound relaxed slightly and momentarily, then resumed and increased the force, and tenninated with the energy of the vanishing stress. Pictured thus : >< Ah. f 160. The compound stress Ls demanded in the utterance oi hatred, sarcasm, mockery, contemjit, and similar feelings. " Out on him !" quoth fah;e Sextus, X " Will not the villain drown ?" > < " Gone to be married ! Oone to swear a ^?ertce / It is not so ; thou hast mis-spoke, mis-heard. Be well advised ; tell o'er thy tale again. It cannot be. Thou dost hut say *tii> so. INTERMITTENT STRESS, OB TREMOR. 161. This cfl'ort of the voice causes it to tremhle. "It is that particular vibration in the throat called, in common language, gurgling." — Dr. Hash. It is stress, or force of voice, but the force is broken into tittles, or [joints. Laughing and crying are examples of tliis tremor. It expresses the feeble and broken utterance of age, of great sorrow, and sometimes of intense excitement. Apply the tremor to the italic words. THE TREMOR OF AOB. Pity the sorroivs of a poor old man. Whose trembling limbs have Ixhtio him to your door, Whose days are dwindled to the shortest span ; Cu, give relief oxiOi Heaven will bless your stm'c ! bRlLL BOOE. ftt AGE AND EXCITEMENT. (Barbara Freitchie.) (Firm) Quick as it fell from the broken staff, Dame Barbara snatched the broken staff; SJie lean'd far out on the window sill, ' And shook it forth with a royal will. (Tremor) " Shoot, if you must, this old grey head, But spare your country's flag," she said. Youth. — Tremor, with Passion. Miranda. O ! I have suffered "With those that I saw suffer ! a hrave vessel, Who had no doubt so'jie noble creatures in her, Basil! d all to pieces. 0, the cry did k7iock Against my very hea/)'t f Poor soids, they periah'd. Had I been any god of power, I would Have sunk the sea within the earth, or e'er It should the good ship so have swalloid'd, and The fntughting souls within her. — 27ie l^empest, RKVIEW PRACTICE. 162. Let the teacher name the stress, then give the example, followed by the pupils. Sound awe in each stress thus : Radical, awe. Thorough, awe.' Median, awe. Compound, awe. Vanishitig, awe. Tremoi', awe. Practise in a similar way on the table of words, par. 69. ! SECTION IV. t1 CHAPTER I. Ill PRINCIPLES OP EXPRESSIVE READING. 163. The object of this section is to explain the method of applying; the cultivated voice to the correct delivery of thought and feeling. After the previous drill through which the pupil has passed, he is supposed to have acquired the power of modulating his voice and the quickness and correctness of ear by which he can distinguish the necessary modula- tions. The section that follows will show ivhen to use these acquired powers, so as to make the voice a true interpreter of the thought. The best rule for the guidance of the student is to understand and to realize to his own mind the passage he is to read, and then to give the appropriate tones. This, however, depends upon the imagination as much as the understanding ; and as there is only one way to read any passage correctly and naturally, and few minds are quick to appreciate and conceive the true nature of an emotion or a thought, the pupil nnist at first be guided by the litem] form of the passage. Hence the analysia of the sentences is the best guide to tltcir proper delivery. CHAPTER II. RHETORICAL PAUSES. 164. There are two kinds of pauses in reading — the Gram- matical Pause and the Rhetorical Pause. The Grammatical Pause is indicated by the common stops — the comma, the semicolon, the colon, the full stop, the notes of interrogation and of admiration, and the dash. It is not neces* sary to explain the^ stops, but in no reading exercise ought bniLL Boos« 59 tlicy to be negleotofl. Tlie old rule of counting one, two, three, four, as a measure of the time for stopping, is of very little use excepting as a measure of the comparative duration of the pause. The true length of a pause must always depend on the nature of the composition ; and therefore no fixed rules can be given. 165. The Rhetorical Pause depends upon the construction of the sentence ; hence the importance of analysis, I General Principle. The sentence is formed of two principal members : — The Subject and the Predicate. These members again may be en- larged and extended by attributes and adjuncts, and where these subdivisions terminate, there must bea rhetorical pause. 166. Hence the following RULES FOR RHETORICAL PAUSE I Mark I| short pause. . Mark || || long pause. I. Pause after the logical subject if it have attributes. II. Pause after the logical predicate if the verbs be intran- sitive ; pause between the object of the verb and the extensions of time, place, manner, and cause, if the verb be transitive. III. If the subject have attributes, participial, prepositional, nouns in apposition, etc., pause hefore and after them. IV. When a sentence is inverted, pause after the inverted member; V. Pause hefore prepositions and relative pronouns, hefore and after parenthetic clauses, before the infinitive mood, and wherever there is an ellipsis. It will be seen that Rule V. is only a derivative of the previous rules. 60 L)liILL BOOlt. EXAMPLES. ill |i 1! IP 167. Rule T. A tliousaiid hoiirtsll boat liiipi)ily. Tlio universe at largo|| would sullor as little in its s[)londour and variety by the des- truction of our planet, as the verdure and sublime magnitude of a forcsty would sutler by the fall of a single leaf. — Chalm&i'S, Thus to relieve the wretchctl|| was his pride, And even his failingsjl leaned to Virtue's side. — GoldmuUh. Rule II. The dungeon glowed|| A momentll as in sunshine, then was dark ; Again|| a flood of white flame|| tills the cell. Rule IV. Within a windowed niclie of that high hall || Sate Brunswick's fated chieftain. Low lies the head|| that was once crowned with honour, yilcnty is the tongue|| to whose acoents|| we surrendered up the soul. Chainedjl in the market place|| he stood. Then shook|| the hills|| with thunder riven, Then rushed|| the stoed|| to battle driven. And louder|| than the bolts of heaven|| Far flashedll the red artillery. 168. The following passage is miscellaneous, but contains ex- amples of all the rules : — " Flungll into lifeU in the midst of a revolution]! ^^^^^ quicken- ed every energy of a people|| who acknowledged no superior, he oouimenced his courso|l a stranger|| by birth, a scholar|| by chari»^.j DRILL BOOK. 61 169. Caution. — Whilo tho rljotonoal panso is indispensable to good reading, tlie pupil must bo warned against making the paus(! too marked and too long. It must be a natural and mo- mentary resting place to distinguish the grammatical diviaions of tho sentence. In this way the rhetorical pause aids the ex- ercise of grammatical analysis. The rhetorical pauses also are tho proper places for breathing. CHAPTER III. Inflections. PRINCIPLES OF INFLECTION. 170. All rules of inflection are derived from two leading principles. I. When the sense of a passage is incomplete, and dependent upon a sentence or phrase that follows, the last word of the dependent passage takes a rising in- flection. II. When the sense of a passage is complete in itself, and does not depend for its meaning upon any word, phrase, or sentence that follows, the last word of that passage takes a falling inflection. 171. The following sentence on page 193, Fifth Reader, will serve as an example : " Her attendants, during this conversation, were bathed in tears ; and, though overawed by the ])resence of the two earls, with difficulty suppressed their anguish." — Hume. Tho sentence ending at " tears " is independent ; hence " tears " takes a falling inflection. " Attendants " and " conversation," being dependent and referential to what follows, take the rising in- 62 DRILL BOOK. i! i! ii fleciiun. The sontouco that folio svjj id also iuJepondent. " Over- awed by the presence of the two earls" refers to what follows, arid " oarls" tukus thu rising iulhiutioii ; wliilo as "anguish" completoa the buuso as well as the sentonco, it takes the fulliu^ inHcction. FuriJier Examplea. Near yonder coj)se, where once the garden smiled, (dependent sent.) And still where many a garden flower grows ■wild, ((Upend, sent.) There, where a few torn shrubs the place disclose, {dep. sent.) The village preacher's modest mansion rbse. (prin. indep. sent.") Goldsmith. In that great cloister's stillness and HccHsion, (dep. phrase.) By guardian angols 16d, (dep. p)hra8C.) Safe from teuiptation, safe from sin's pollution, {dep. phrase.") She lives (j)rin. se7it.) whom we call dead, {conv pleted sent.) And though, at times, impetuous with " emotion, {dep. jjhrase.) And anguish long suppressed, (dep. phrase.) The swelling heart heaves, moaning like the ocean, {dep. adv. sent.) That cannot be at r6st, (dep. ndj. sent.) We will be patient, and assuage the feeling {j)Hn. sent., hut referential to the next sentence.) We may not wholly stay : (dependent, hvi comjjlete.) DRILL BOOR. 63 Thus it will be seen that the unalvsis of the sentence is the key to its proper infloction. 172. Rules for the rising inflection derived from prin- ciple I. cuuueiut(Hl al)ovo : T. The subject of tlie sentence, all dependent sentences followed by the principal sentence;, all principal sentences followed by qualifying clauses to which they refer, and all ex- tensions and modifications of the preilicato when they precede the predicate, take a rising inflection. II. All words of appeal, i. e. nominatives of address, and exhortations, end with a rising inflection. Example : — " Ye crags and p^aks (appeal), I'm with you once again" (complete). *' Hide thy face from my sfns, and blot out all my iniquities" (exhortatioti). " Awake, voice of sweet s6ng. Awuke, my heart, awake ; green vales and icy cliffs, all join my hymn." \ III. All questions beginning with verbs, or that can be answered by " yes " or " no," take a rising inflection. " Hast thou not kn6wn, hast thou not h6ard, that the ever- lasting G6d, the Ldrd, the Creator of the ends of the earth, faintetli not, neither is wearv ? " Note. — Observe that words in apposition take the same in- flection as the principal word. Hence in the above, Lord and Creator — earth, have a rising inflection like God. IV. Negative sentences have a rising inflection in the inirt denied. ^ It is not my faiilt. 64 DRILL BOOS. ■<; ^; It is nob to small portions of time, not to a few ySars, not to a few '/enerdtions, not to a few cigea, that our speculations are here Ivi.Ued; they embrace eternity. 173. In all the above subordinate rules, the student will see incompleteness. Thus an appeal partakes of the nature of a question, and a negative stateriient seems to be incomplete until the opposite aflfirmative statement is given, " It is not my fault," means " it is somebody else's." 174. The second principle has also its derivatives. Rules for the Falling Inflection. I. All dependent as well as independent sentences, when they end a passage, take a falling inflection. II. All commands, threats, and denunciations take a falling inflection. "HMt!" "Mkchon!" " On ! dn ! you noble English." " Must I bid twice ? Hence, varleta,^;?y/" "Hise, rise ye wild tempests, and c6ver his flight." II6me ! h6me ! you idle dolts ! Get you \hrr>.% You blocks, you stones, you wors^ than senseless things. (( Woe unto them that call evil g6od, and good 6vil ; that put diirkncss for liglit, and light for darkness ; that put bitter for BW^e^j, and sweet for bitter." III. All sentences expressive of undoubted truth, or con- viction, oven if ne;^ative in form, take the falling inflection. " Though T p\ould die with th6e, yet I will not diuy thee." a ell M r< Pi # SniLL BOOR. m God is not a mkn, that he should lie ; neither the son of man, that he should repent. I"\ . In a series of independent sentences, each sentence takes a falling inflection (.-xcc^pting tlio penultimate one. " Charity Buffereth long and is kind ; charity envietli n6t ; charity vaunteth not itself; is not easily puffed iip ; doth not lj|ehave itself uns6.<5mly ; seeketh not her own ; is not easily rovoked (j)enult.) ; thiuketh no hviV V. Antithetical forms take opposite inflections, but each ex- pression is subject to the preceding principles. ** Dryden is read with frequent astonishment ; and Pope with perpetual delight." — "Tliey poor, I rich ; they beg, I give ; they lack, I tend j they pine, I live. CIRCUMFLEX INFLECTIONS. 175. Ci':cumflex Inflections are a combination of the two leaaing" inflections. Sometimes the voice moves down and up^ and sometimes up and down in an unbroken continuous wave. Hence they are turmed circumflex, rising or falling as they end with a rise or fall. 176. 'Jircumflex inflections do not depend on the form of the sentence for their use, so much as on the emotion they are in- tended to express, and therefore the analysis of the sentence is not a sufficient guide. 177. The emotions expressed by the circumflex inflection are 'iVOtu/, ov double meaning, doubt, mucker)/, reOuke, reproach, wonder, &o. Rising Circumflex. 178. The voice slides down. th>'n up, on the same word. " It is vastly easy for you, Mistress Yial, wiio liave always, # C6 DRILL BOOS. ■'';i' , ii' ; i i ■■:i; as everybody knows, set yourself up above me, — it is vastly msy for you, I say, to accuse other people of laziness." " How is your piUient, Doct(5r V " Well, he is better." {Douht.) Observe that this tone implies that he is still in danger ; a decided falling inflection over " better'' would convey certainty and satisfaction. " Hume said he would go twenty miles to hear Whitetield preach." That is, he would go no distance to hear a common preacher, but only Whitefield. Rise and Fall. 179. The voice slides up, and then down : " None dared withstand him to his fdco, But one sly maiden spoke aside : The little wretch is evil eyed ; Her mother only killed a cow, Or witched a cliurn, or dairy pan ; But she, forsooth, must charm a man," 180. Combination of both Forms. " Gone to be married ! Gone to swear a peace ! False blood to false blood join'd. Gone to be friends ! Shall Louis have Blanche, and Blanche these proviiices % It cannot be, — thou dost but say 'tis so." ' I DRILL BOOK. 67 3 vastly iger ; a srtainty litetiold ommou " Cry al6iicl, for he is a god. Either he is talking, or he is on a journey, or peraJventure he sleopeth, and must be awaked." No doubt ye are the people, and wisdom will die with you. i8i. The Monotone. Monotone is a level tone, with as little inflection as possible. The laws of inflection apply in this practice the .same as in the preceding examples ; but the inflections are very slight and the tone is lengthened. There is a danger in exercisiT g the monotone of passing into chanting. In chant- ing thei ' is an entire absence of monotone ; it is uniformly one level tone, excepting where the pitch is changed. 182. The monotone is solemn and level like the tolling of a i>fcil> but each word will involuntarily end with a very slight slide up or down. This is the law of speech, and distinguishes its music from that of song. Read the following and similar solemn passages on as level a tone as possible : — es? Holy, holy. Lord God of Sabaoth. The-cloud capped towers, the gorgeous palaces, The solemn temples, the great globe itsc^lf. Yea, all which it inherit shall dissolve, And, like the unsubstantial pageant faded, Leave not a rack behind. 68 DRILL BOOK. Mechanical Practice. ! I 183. A good reader should be able to give any necessary in- flection at will and without hesitation, and the following me- chanical practice will be useful to train the ear to acquire this power. (The habit of children when reading is always to *' drop " the voice when they atop for any purpose, without regard to the sense ; and aur other habit, shown in reading hymns or the Scriptures, is to give a ris- ing inflection at the end of a verse, where the sense would reciuire a falling inflection.) , 1 ii !!! 184. Practise as follows : — I. Let each pupil in a class read one line of a lesson only, and then stop, but end with the same inflection that would be used if the next line had not to be read. Thus in the Fifth Book, p. 193, let the first pupil read — " Her attendants during tnis conversation were bathed fn — " Here the reader must stop ; but he reads "in" with a rising in- flection as if he were going to say " tears." Immediately the second reader takes up the next line, beginning with " tears" ; but as " t^ars " ends the sentence, it takes a falling inflection. The second reader continues " t^ars ; and though overawed by the presence of the two 6arls," — here the sense is incom- plete ; but ae " 6ar!s " ends the second line, the reader stops for the next to taka his part. " Earls," like " in," take^ a rising inflection, but habit is so strong that the majority of readers, knowing they ara to stop at the end of each line, will " drop the voice." II. Let the clas^ read simultaneously, and give to everi/ word in the first line a rising Inflection. Before tliey commence the second line, let the tojicher call out " fall;" then let the class read every word with a falling inflection. DRILL BOOK. 69 The teacher after a little practice may vary the exercise, giving the word of change as he pleases : "llise," " Fail," " Cir- cumflex rising," " Circumflex falling." Tlie exercise is purely mechanical, but will be found to make the pupils in a short time expert in the practice. CHAPTER IV. Pitch. 185. The frequent practice of modulating the voice by tlie rules of Pitch will be the best corrective of that unvarying and monotonous style of reading so common to the school room, and, as a consequence, to the delivery of most public speakers. 186. Practise the pupils frequently on the reading gamut, with all its variations, p. 44. 187. The teacher should endeavour to secure from all, the pitch intended to be struck, and to secure uniformity in such pitch. 188. When a pupil from defect of ear cannot strike the proper pitch, he should stop reading, listen and try again. Unless tliere be absolute deafness, a few trials of this kind will be followed by success. The following practice will prepare for more difficult exercises : — 189. Take any passage of poetry, and direct the class to read one or more lines in the pitch named by the teacher, who calls out "High," " Low," "Middle," as he pleases. The class, at the word of command, instantly changes the pitch t(» high, low, or middle, aa directed. «il 70 DRILL BOOK. 190. Example Low. First Fear, his hand its Bkill to tiy, Amid the chords, bewildered, laid ; Middle. AvA back recoiled, he knew not why, Even at the sound himself had made, IIiGil. Next Anger rushed, his eyes on fire, In lightnings own'd his secret stings ; Very High. With one rude clash he struck the lyre. And swept with hurried hands its strings. Very Low. With woeful measure, wan Despair, Low sullen sounds, his grief beguiled, A solemn, strange, and mingled air, 'Twas sad i,y fits, Higher. by starts 'twas wild. Principles of Modulation. (^According to the atialybis of tits HKultnce.^ THE SIMPLE SENTE>X'E, 191. The subject and predicate arc delivered in a higher pitch than qualifying and modifying phrases. But when c(mi- trast and distinction are expressed, then the qualifying words that mark the contrast or distinction take a higher pilch. 192. Examples of the ^Sidject. ** Becket's death caused great consternation." Here " death" is the cause of the consct^uence, and is the leading word. > onl DRILL BOOK. 71 "A cheerful disposition lightens labour." Here there is contrast : not any disposition, but a cheerful one. The same rules serve for attributes. " A man of virtue is trusted even by his enemies." , Not any man, but {contrast) one of virtue. " Wisdom, a crown and ornament both to young and old, in never to be despised." The explanatory phrase does not distinguish, it only explains ; hence wisdom is the leading word. " Born to inherit the most illustrious monarchy in the world, and early united to the object of her choice, the amiable princesSf happy in herself and joyful in her future prospects, little antici- pated the fate that was so soon to overtake her." 193. As numeral adjectives distinguish, they take pre- cedence of the noun. "Tiiere were twenty men killed." " There were nine hundred men wounded." . Note. — Vulgar expression always gives emphasis to "hundred " rather than the number of huudreds in such cases as the above. The Predicate. 194. The verb has a higher pitch and stronger emphasis than the modifying words. " The corn is sown by the husbandman, nourished by the rains and the light and the heat of the sun, ground by the miller, and ea^ew by the people." 195. When, however, the verb is transitive, the object must have prominence : " Ikcket's cfoUA caused great constematvm,* 72 DIITI.L BOOK, 11 I 196. So also when tlio coi)iilii is used, its modifying word Ot predicate takes the higher i)itch. " Man is mortal." 197. When tliere ni e direct and indirect objects, tlie indirect has precedence of tlie direct in pitcli. " She made him her heir." > " We took; him for a philosopher." *' The fire reduced the house to ashes." Note. — Whenever the speaker would give a preference to any other word than the one which comes under the law of analysis, it would be because arbitrary emphasis would justify the preference, {Sec Em- p/iasis, par. 214). Thus by the rule we read : — "Brutus accused Ctesar of ambit.on. " But if the question were, ' ' Who was guilty of ambition, Ca'sar or Antony ?" then the reading would be, " Brutus accused Casar of am- bition." Whenever the modifying phrases or words are intended for contrast or distinction, they take precedence of the other words. He fought most bravely of all. He died from hunger. THE COMPLETE SENTENCE. 198. General Rule.— The principal sentence takes pre- cedence of all subordinate sentences. If it be delivered in the middle pitch or dominant tone, the subordinate should be given in about a tone lower. Principal and Adjective Sentences. " The enemy — that waiteth for all occasions to work our ruin — hath found it Jiarder to overthrow an hurrMe sinner than a proud saint." — Hooker, 199' I^ reading the above and the following examples, the passages in italics are given iii the same pitch, and higher than the subordinate DRILL BOOK. 73 sentence. Thus in the ahove, " the enemy " is given in the middle pitch, that is, hulf way between tlic lowest and highest no*» the reader can sound ; when the adjective clause is read, the voice must make a slight descent and continue and end at that pitch ; but the reader must remember the pitch in which " the enemy" was delivere|l, and assume it when the predicate " hath found" and all that follows is spoken. In this manner the voice indicates the principal and subordinate sentences. The noun sentence below that follows " Methought" is read as high as the principal sentence. Par. 203. 200. Principal and Subordinate Sentences; " As we passed along Upon the giddy footing of the hatches, Methought that G foster stumbled, and in falling Struck me, that thought to save liiin, overboard Into the tumbling billows of the main'* tShaliesjjeare. ** If ear yonder copse, where once the garden smiled, And still where many a garden flower grows wild ; There, where a few torn shrubs the place disclose, The village preacher's modest mansion rose." " Beside the bed, where parting life was laid, And sorrow, guilt, and pain by turns dismayed, T/ie reverend champion stood." ** At church, with meek and unaffected gi*aco, His looks adorned the venerable place." 201. This last example shows that in the simple sentence the leading members take a higher pitch. " Truth from his lips prevailed with double sway, And fools, who came to scojQT, remained to pray." I '! u DRILL BOOK. 'M l:!l iiii !,i 202. It is agrcoal)lo with tho rule that all parenthetical clauses and all similes are delivered in a. lower pitch. If the parenthetical clause, however, be very important it should bo road slower. 203. Parenthetic Clause. M. P., Middle Pitch; H. P., Higher Pitch; L. P., Lower Pitch. M. P. " If there's a Power above us — L. P. And that there is all nature cries aloud Through all her works — H. P. He must delight in virtue, And that M. P. which He delights in must he happy ^* 204- EXCEPTIONAL RULE. Noun sentences present an exception to the general rule. The reason for this is that noun sentences take the place of the subject or object of another predicate, and, agreeabh' with the rule (par. 191), they demand the same promineno (pitch) as the noun itself in such cases. P. S. " We thought (adv. s) as we hollowed his narrow bed, And smoothed down his lonely i)illow, N. S. That the foe and the stranger would tread o^erhia head, And we far away on tlie billow." P. S. It is enacted in the laws of Venice, Adv. S. If it be proved against an alien N. Sb ThaA by direct or indirect attempts He seek tJie life o/cmy dtizen. DBILL BOOK. 76 The pnrhf Adj. S. 'gainst the which ho doth contrive Shall seize one-half his ijoods. — Merduuit of Venice, Adv. S. If e'er, wlien Faith had fallen asleep, I hoard a voice, " Believe no more !" N. S. ) And heard an ever-breathing shore That tumbled in the godless deep, Prin. S. A warmth within the hre&at would meli The freezing reason's colder part, Prin. S. And like a man in wrath, the heart Stood up and answered, N. S. I HAVE felt. Tennyson, 205. The application of analysis to the variations of Pitch is mechanical in character and only useful in determining the com- parative value of sentences. Expressive delivery, however, in its highest aspect, must be founded upon the nature of the emo- tion and thought ; and the following general principles will assist the judgment of the advanced student: I. The Middle Pitch is the most proper for argument, for philosophical composition, and for what is regarded as thought- ive as distinguished from emotional passages. II. The High Pitch is the most proper for gay and joyous emotions, for passages of triu-^iph and exultation, or for the extremes of pain, grief, and alarm. III. Low Pitch is the most proper for the most solemn, sublime and grand passages. IMAGE EVALUATION TEST TARGET (MT-3) 1.0 I.I L25 S IS tM 18 U 111.6 Hiotographic Sciences Corporation 73 WEST MAIN STREET WEBSTER, NY. 14580 (716) 873-4503 '^ i\ \ O^ -wer. Bedr me|| without thine ears, and make reply|| Without a tbngiLef using conceit al6ne, Without eyes, ears, and harmful sounds of wdrds, Then, in despite of broodecl|| watchful ddy, I would into thy bosom|| pour my tltoughta ; But ah, I will n6t : — yet I hve thee well; And by my troth I thirikW thou lov'st mk wMl. Hubert (louder). — So well that what you bid me under- take, Though that my death were adjunct to my act, By heaven, I would do it. EiNa John (deeper). — Do I not know thou wouldst 1 (deeper still and deeper as he advances.) Good Hubert, Hubert, Hubert) throw thine eyes (very slow) On yon young bby :\\ I tell thee what, my friend. He is|l a very serpent in my way j And wheresoe'er this foot of mine doth tread Hell li^sjl before me :|| Dost thou understand me? (very deep and slow.) Thou art his keeper. Hubert. — And I'll keep him s6, that he shall not offend your Majesty. King John (whisper). — Death. Hubert. — My lordt (starting.) Kino John (whisper). — A grave. Hubert (very low). — He shall not live. Shakespeare, w ■ 80 '<• DRILL BOOK. Rate or Movement 209. The term movement has the same roeamng and appli' cation in speech as in muKic— it means the rate at which we speak. We speak slowly, moderately slow, moderately quick, and very quick, according to the state of feeling and the nature of the emotion. The movement in reading must be on the Bame principle as that which guides and expresses natural emotion. In the expression of joy or humour, or under the in- iluonee of great passion, words are uttered with rapidity, and the voice is thrown out with the radical stress (par. 144.) When the sentiments arQ those of sorrow, or solemnity, or sublimity, or reverence, they are naturally delivered with a slow and dignified movement, as when we sing the Old Hundredth psalm, and with the median stress (par. 147.) Moderately slow movement marks the reading of narratives, essays, newspaper articles and paragraphs. 210. When we wish to read in the slowest movement, the time is prolonged not only by longer pauses between words, but by prolonging the tone of all vowels with long quantities, and of all consonants (sub-tonics) which allow of prolongation. This especially marks the utterance of the liquids I, m, n, ng, and r. 211. The faults of movement must be avoided. The three principal faults are : — z. Uniform slowness or drawling. 2. Uniform rapidity. 3. Uniform moderate movement In other words, all sameness is monotonous and inexpressive • while too great rapidity is not only opposed to all dignified and impressive expression, but often passes into indistinctness. DBILL BOOK. 91 212. Dr. Rush recommends the practice occasionally of ex- treme rapidity of speech for acquiring command over the voice. " The difficulty of making transitions from one position of the organs of articulation to another, requires an exertion which tends to increase their strength and activity, and thus enables them to execute the usual time of speech without hesitation." The best method of practice is for the pupil to commit a passage tD memory, and recite at a considerable distance from the teacher with the utmost rapidity, but with such complete utter- ance that not a word, syllable, or letter, and especially the last letter, shall pass unheard. 213. It is also good practice for the entire class to read at diflerent rates of movement obedient to the word of coninmnd ijiven by the teacher; as "slow," "very slow," "moderately fast," " very fast." Any extracts will serve for this purpose. CHAPTER V. Emphasis. 214. The expression of emphasis is something besides mere stress of voice. It combines several of the principles of good delivery already explained, and demands great care and judg- ment to execute it with truthful expression. Emphasis is of two forms : — 1. The Emphasis of Sense. 2. The Emphasis op Feeling, or Arbitrary Emphasis. 215. The Emphasis of Sense means that graater force which \\ hiusa); but still great, he, the midst. Now dragon grown, larger than whom the sun Engendered in the Pythian vale or slime, Huge Python, and his power no less he seemed Above the rest, still to retain. Millva "P Pope. 96 DRILL BOOK. SOUND OF A BOW RTRINO. The string lot fly, Twang'd tifwrt and aliarpt like the ahrill swallow's cry. Pope, SLOWNESS OF MOTION. Firat marcli the heavy mules securely slow, O'er hills, o'er dales, o'er crags, o'er rocks tftey go. The Bells. I. SLEIGH BELLS. Begin High Pitch, about natural, and vory soft but pure tones. Dwell on the itiilic» like chanting, but imitative uf the kind of bells named in the vcn-se. Hear the sledges with their bells, silver bells ! ^ What a world of merriment | their melody foret<^//« / How they tinkle, tinkle, tinkle, ' In the icy air of night, While the stars | that oversprinkle. All the heavens | seem to twinkle With a crystaUme delight ; Keeping time, time, time, ' In a sort of Runic rhyme, To the tintinnabulation | that so musically we//s From the bells, bells, bells, Bells, Bells, Bells. ' From the jingling and the tinkling of the bells. is (( 1. Dwell ou tU« " Us." i, Iinitota 3. Chant " time," ihvollingon th«"in." 4. Imitatu u'.uitfh bMa. nro the DRILL BOOK. w WEDDING BELLS. Tliis stanza nuiHt be louder than the last. The movement is lively and quick; the radical stress (par. 144) prevails, and " bells " should be chimed. Pitch from A to C natural, chaut the Italics ; chime the heavy typo :—• I Hear the wedding bells— Golden bella / • What a world of happiness | their harmony foretellt / Through the balmy air of night How they ring out their delight I From the molten golden notes, And all in time. What a liquid ditty floatSy • To the turtle dove | that listens, when she gloats On the mdon I ' Oh, from out the sounding cells '* What a gush of euphony voluminors'iy wells/ • How it swells / How it dwells — On the future ! How it tells Of the rapture that impels To the sujinging and the ringing Of the bells, bells, bells, ^" Of the bells, bells, bells, bells, " Bells, bells, bells! To the rhyming and the chiming of the bells. " fi. Chant a Very soft. 7. All soft, and high, aud musicaL 8. Chant. U 9. Chant italics. 10. Chant 1 1. Chime merrily. 12. Chiiut, dwell on "bella.* ^p 9R M DBILL BOOK. III. FIRF nRLLS. Bold and loud, but not too high pitch, from F to A. Me- dian and thorough streHs (par. 147). No chimeH, and the movo- ment sometimes fast and sometimes slow, with an expression of alarm. Hear the loud alarum bells — ^ Brazen hells, " What a taie of terror now their turbulency tells I ** In the startled ear of night, How they scream out their aflVight ! Too much horrified to speak, They can only shriek, shriek " Out of ttme, In a clamorous appealing \ to the mercy of the pire ! *" In a mad expostulation!! with the deaf and frantic ^re. Leaping higher, higlter, hig/ter ** With a desperate desire ; And a resolute endeavour, Now, now to sit or n£ver By the side|| of the pale-faced moon ! Oh, the bells, hells, hells, ^' What a tale \ their terror tells Of despair ! ^^ How they clang|j and clash|| and roar, * What a horror they OMij)our 18. Tt>ll like Are ImII. 14. Half chant. 16. Loud. M. Prolong " flro." 9. In a harsh, loud tou«, like a loud belt. 17. Rise a note on each " higher," and sound like a bell. 18. Quick and loud. 10. Low pitch and slow. DRILL BOOK. W Me- le move- pression cjire, On the bosom of the palpitating air I Yet the ear it fully knows By the twanging And the clanging^ How the d&nQQT sinks (1) and swelh, (2) " By the sinking or the swelling or the anger of the bells; ' Of the bells-^ Of the bells, bells, bells, bells, " Bells, bells, bells, ^ In the clamor and the clangor o f the bells I IV. PUNEllAL BELLS. The tone should be deep but not loud in this stanza. The funeral bells suggest tolling, and the swelling tones or median stresa Hear the tolling of the bells, ** Iron bells. What a word of solemn thought their monody compels ! In the silence of the night ; How we shiver "^ with affright. At the melancholy menace of their torw / For every sound that floats From the rust within their throats Is a groan. ^ And the people — ah, the people — They that dwell up in the steeple, r," and 21. (1) soft, (2) loud. 22. Slow and deep. 93. (^uick and loud. 24. Deep and prolonged monotone, espe- cially on "tolling," 25. Treuiuloua, (6. Tolling like a bell. 100 DRILL BOOK. All alututt And who tolling^ tolling, tolling " In that muffled monotone, Feel a glory in so rdlling " On the human heart | a atone* They are neither man nor woman - They are neither brute nor human- They are ghouh. And their king it is who tolls, ^ And he rolU, rolls, rolls, rolls, * A poMm from the hells I And his merry bosom swells With the The splendour falls|| on castle walla > And snowy summits|| old in story ; The long light shakesjl across the lakes ; > And the wild cataract|| leaps in glury. <> <> <> Bloio, bttgle, blow, set the wild echoes flying; <> <><><> Blow, bugle,\\ answer echoes,|| dying, dying, dying. <> Oh hark ! Oh hear ! how thi^ and clear, • And thinner, clearer, further going ; <> Oh ! sweet and far from cliff and scar <> The horns of elf-land faintly blowing. M. Higher. 87. C!onUnue solemn tolling. 88. Very deep, slow and aoleom. 88. TbissUna is to batetd high, Irat faint and twit. 102 DRILL BOOK. <> Bloio^ let us hoar the purple glens replying; Blow, bugle, answer echoes,|j dying, dying, dying. <> <> Oh love, they die on yon rich sky, <> <> They faint on hill, on field, on river ; <> <> Our echoes roll from soul to soul, (deeper) And grow for ever and for ever. <> <> <> Blow bugle, blow, set the wild echoes flying ; And answer, echoes, answer— dying, dying, dying. Tennyson. :> ing. SECTION Vi ying. fon. I I ' Accent, Rhythm and Metre. 232. " Khythm is a princi})le of proportion introduced into language." — Abbott's English Lessons. 233. All words of more than one syllable have an accented syllable — that is, one syllable is sounded heavier than the other, as eagle, father, /oseph. When there are more than two sylla- bles there will be a lighter and a heavier syllable. In such cases the heavier is called the jrrimary, the lifjhter the secondary accent, as voncupine, philosophy. 234. In common conversation and writing, the accented sylla- bles do not succeed each other in very regular order, 235. But when a speaker or a writer appeals to the passions, or composes under tlie influence of the imagination, not only is the voice modulated, but the words, even if not spoken but only written, acquire regularity in the succession of accented and unaccented syllables. 236. When this regularity is not uniform, as in poetry, it is called rhythm. 237. When the accented and unaccented syllables follow in regular order, as in poetry, it is called metre. ^ote. — The tendency of children learning to read is to accent every syllable. As they advance in reading they still continue to accent every word, and unless this habit is checked at an early •tage it will maik and deform the delivery of adult age. «■■ IMPB 104 i)tlTLL BOOK. If emery word be accented, not only would the reading be incott" veniently and painfully slow, but all the lights and shades of expression would be destroyed. 238. Rules for Reading Rhythmically. In order to give the music of expression to all rhythmical compositions, the reader must — I. Pause frequently and at regular intervals. II. Divide the words into sections, similar to bars in music. III. Let each section begin with an accented word or sylla- ble. IV. When monosyllables destitute of expression, as articles, conjunctions, or prepositions, occur, they must each either be combined, as an unaccented syllable, with leading words, or if they stand alone there must be a brief silence before them, as a substitute for an accented word or syllable. 239. It will be seen from these rules that groups of words in speech and readinj may be, as notes in music, divided into regular portions, governed by the accented syllables, and, as in music, forming bars, each bar commencing with an accented syllable or a pause of equal length to the omitted accented syllable. 240. In the following sentence each bar marked by the Upright dash commences with an accented syllable. 1. The accented syllable is in italics. 2. When there is no accent a cypher (0) precedes the words. 3. When a leading word of one syllable occurs, and its quan- tity or vowel sound is short, a cypher /oWi i\ It re| mains with ( you then | to decide | whether that | freedom | at | whose | voice | the | kingdoms | of Europe I a I woke from the | sleep of | ages, | to | run a cajreer of I virtuous I emu|lation | in | everything | great — and ( good; I I the | freedom | which disjpelled the | mists of I superjstition, | and in|vited the | nations | to be | hold their | God ; | | whose | magic | touch | kindled the | rays of | genius, | the en|thusiasm of | poetry, | and the | flame of j eloquence ; | | the | freedom | which | poured into our | lap | opulence | and | arts, | | and em-| bellished | life | with in | numerable | instijtutions | and im|provements, | 00 | till it be | came a | theatre of | wonders; I I it is for I you I to dejcide | whether | this | freedom | shall | yet surlvive, | or | perish | forjever. J HOW TO READ POETRY. 244. All poetry is metrical. It is written with accented and unaccented syllables, occurring at regular intervals. " As the voice rises from (a) conversational non-modulation to (bj rhetorical modulation, and from modulation to (cj sing- ing, so the arrange ment of words rises from (a) conversational non-arrangement to (b) rhetorical rhythm, and from rhythm to (c) metre." — Abbott*8 English Lessons. 245. When reading poetry we must sustain the music of the metre, but avoid the defect of sing-song. 246. The following rules will assist the reader to preserve the metre and avoid the sing-song: — I. Regard the accented syllables, but do not give too much weight to the voice in pronouncing such syllables. I DRILL BOOK. 107 i II. Do not alter the pitch for the accented syllable or word. In sing-song the voice rises on the accented and /alls on the un- accented syllable : e. g. : — Oh, keep me in Thy heavenly wayy And hid the tempter flee ; And let me never, never stray From happiness and I'hee. ^ If we raise the voice slightly on each italic syllable and drop it on the unaccented, giving it also more force of voice, it is sure to be sing-song. If we read it all on a level, only varying the pitch where the emphasis demands it, the tendency will be diminished. III. If the accented word be a monosyllable, j3a2**'e, if the sense allows it, before such word. Thus in the following words, if we pause, the sing-song is diminished : — T/iere \ shall I bathe | my weary soul | In seas | of heavenly rest. IV. Vary the length of the pauses between words, and vary the length of syllables and words, especially when the sense allows it. Never dwell long on unimportant words, as pre- positions and conjunctions. Thus in reading the following stanza with all the regularity of the metre it unavoidably be- comes sing-song : — And redder yet those flres shall gloto, On Linden'a AiUs of blood-stsiined snow ; And darker yet shall be the flow Of /ser, rowing rapidly. 108 DRILL BOOK. M \r Now observe the pauses, and lengthen the syllables in italics. And\\redder y/6'^||those ^^r^s||8hall glow, On Linden's hilhWof hlood-i^ta/'ned snow ; And darker ?/(?^||shall be the^ow Of Isei'WvollingWrapidly. But||to the hero, when||his ffword -^' Has «?ow||the battle||for the free, Thij\\voice\\sounds\\\ike a prophet's word, And||in its hollow ^6»we6'||are heard The thanks||of millions\(yet to he. V. In reading four-line stanzas, when we commence the third line we should descend a tone in pitch ; and, unless the sense be very complete at the termination of that line, its last word should have a rising inflection. For variety, the last word of the second line should end with a falling inflectioni unless that lino be dependent on the third line. VI. Avoid descending step by step on the last words and syllables of the last line. The descent on the final word is 7iot one of pitch, but of injlection. Otherwise the pitch ought to be as loud and as high on that word as on any other. VII. Avoid the great and common defect of ending the lasi; word with a rising pitch and inflection, giving the voice a kind of leap and twist upwards, instead of a descent. 247. I'^ cases which rarciy occur, where the last word is a noun in the possessive case, or an adjective qualifying, or a pre- liosition governing a noun that commences the next line, there should be no pause. Tlie proper inflection also must be ob- 1 ved on the last word of the line. When to enshrine his reliques| in the sun's Bri{|;ht temple, to Egyptian Thebes | he flies. DRILL BOOK. 109 I know not j but I'm sure] 'tis safer | to Avoid what's grown | than question] how 'tis bom. Shakespeare. 248. Elision. — When the vowels e and o are left out, and supplied by an apostrophe, in poetry, they should always be pronounced in reading : " E/ whisp'ring winds soon lull'd asleep." Here " whispering " should be pronounced in full. The objection to this would be that the metre would be violated by adding half a foot or an extra syllable to the line. But the defect is obviated by lengthening the quantity or time of pro- nouncing the syllable " whis," and by uttering the remainder of the word " — pering " more rapidly. This is not required in the word " luU'd," as it is customary to leave out the e before the d of participles. By +his rule timorous, generous, daTig'rous, should always in poetry bo pronounced in full without the elision. This rule does not apply to the elision of consonants, as o'er, e'er, &c. The vowels of the words to and the must always be pro- nounced in poetry, although the poet may put the apostrophe in their place. Thus : By prayer | th' offen|ded De|ity( t' appease, must be read with the words the and to fully pronounced. If the words be arranged according to the principle explained in par. 240, in bars with pauses for silence, the metre is pre- served. By I prayer I the of | fended | Deity | to ap| pease. SECTION VI. SELECTIONS FOR PRACTICE. 249. These selections are prepared for the study of expressive reading, with head and foot notes, with emphatic words in italics and heavy type, and the expressive words with pause and inflection marks. In reading according to these marks and emphasized words the pupils should be frequently ques- tioned as to the reason for any inflection, pause or emphasis, and both the literary structure and the spirit of the passage brought under review and criticism. 250. It will also be of advantage to change the inflections and transfer the pauses and emphases to other words, or dispense with them, that the pupils may see the effect of violating or neglecting elocutionary principles. 251. It is well for the teacher to commence with simultaneous reading ; but this method should not be continued, as it is apt to end in a mechanical and monotonous style. 252. In practising simultaneously the following methods arc recommended : — 1. Commence with clauses and phrases, the teacher leading and the pupils following. Lot the pauses be longer than usual, and the inflections very marked. 2. Let the teacher read a stanza — not more than four lines of poetry. Then let the pupils read simultaneously. Practise on the same plan with a chapter of the Bible, taking an entii'e verse for each simultaneous practice. ssive a in ause arks |ues- asis, sage and ense jor 50US apt arc mg lal, mes ise iie DRILL BOOK. Ill 3. Increase the number of stanzas or verses until the pupils can by themselves, after the teacher has first read the whole passage, read a whole chapter, poem, or other selection. " unison " 4, In this practice the utmost regularity and shoiild be observed. Every word should bo heard distinctly, as if uttered only by one voice, just as in singing a hymn. The pauses must be well observed, but perhaps a little longer than in individual reading, the inflections and emphases alike, and the articulation perfect. Selections for Reading. I. FILIAL PIETY. Filial PiSty ! It is the primal bond of society — it is that in- stinctive principle which, panting for its proper good^ soothes, unbidden, each sense and sensibility of m^n ! — it now quivers \ on every lip ! — it now beams from every hye ! — it is an emana- tion of that gratitude which, softening under the sense of re- collected gdodf is eager to own the vast | countless debt \ it ne'er, alas ! can pay, for so many | long years of unceasing solicitudes, honorable seU-denials, ^i/e-preserving cares ! — it is that part of our practice, where duty | drops its awe 1 \ where reverence | refines into love! \ it asks no aid of m,em/)ry ! — it needs not the deductions of reason / — pre-existing, paramount over kll, whether law or human riile, few arguments can in- crSase | and none can diminish it ! — it is the sacrament of our nature ! — not only the diity, but the indulgence of mkn — it is his first great privilege — it is amongst his last most endearing delights I — it causes the bosom to glow with reverberated Ibve ! — it requites the visitations of ndture, and returns the blessings that have been received ! — it fires emotion | into vital principle — it renders habituated instinct | into a master-passion — sways all the sweet^jst energies of mkn — hangs over each vicissitiide | U2 DRILL BOOK. of all that must pass aw&y — aids the melancholy virtues | in their last sad tasks of H/e, to cheer the languora of decrepitude and kge — explores the thuutjht — elucidates the aching hye — and breathes stjoeet consolation \ even in the awl'ul moments of dis' solution I Sheridan. IT. WAR WITH NAPOLEON. ' I (Appeal and Invocation.) I cannot but imagine the virtuous hkroes, UgislhtoTa^ and patridts, of every age and cSuntry, are bending from their ele- vated seats I to witness this contest, as if they were incdp^hle, till it be brought to a favourable issiie, of enjoying their eternal repbse. Enjoy that rep6se, illustrious imraortdls I Your mantle fell when you ascended ; and thousands, inflamed with your spirit, and impatient to tread in your steps, are ready "to swea/r by Him \ that sitteth upon the thrdne, and liveth for ever and 6ver,"|| they will protect Freedom | in her last asyliim, and never desert that cause] which you sustained by your labdurs, and cemented with your blood. And Th6u, sole Riiler among the children of m^n, to whom the shields of the earth bel6ng, " gird on Thy sword, thou Most Mighty,^* go forth with our hosts in the day of hhttle ! Impart, in addition to their heredi- tary valour, that confidence of success) which springs from Thy presence ! Pour into their hearts | the spirit of departed heroes ! Inspire them with Thine bwn : and, while led by Thine hAnd, and fighting under Thy banners, open Thou their eyes | to behold in every vklley, and in every plain, what the prophet beheld by the same illumindtion — chariots of fire, and fidrses of ftre ! " Then shall the strong man be as tdw, and the maker of it as a spark ; and they shall both bum together, and none shall quench them." Robert Hall. DRILL BOOS. 131 in. DANIEL BEFORE BELSHAZZAB. The answer of Daniel must be given with great calmnesB and dignity, and in the best orotund voice :— Belshazzar. — Art thou that DaniSll of the Hebrew r&oe| In whom the excellence of wisdom dwellsH As in the guda f I have heard thy fame ;— behold Yon mystic litters | flaming on the w^ll, That, in the darkness of their fateful imp(5i*t, Jiaffle the wisest of Chaldea's sages ! B6ad I and interpret, and the satrap robe Of scarlet shall invest thy limbs — the cliMin Of g61d adorn thy neck — and all the woiid Own thee| third rider of Chaldea's reklin ! Daniel. — Belshdzzar, be thy gifts wnio thy8< If , And thy rewards to others. I, the servant Of Gdd, will read God's writing to the king. The Zorc? of hosts I to thy great ancestor, To Nabonassdr, gave the all-ruling sceptre O'er all the nations, kingdoms, languages ; Lord paramount of life and death, he slew Where'er he vnlled ; and where he willed, men lived ; His word exalted, and his word debased ; And so his heart sivelled up ; and, in its pride, Arose to heaven ! But then the lord of earth Became an outcast from the s6nf5 of men — Companion of the browsing beasts ! the dews Of night I fell cold| upon his crownless brdw. And the wild asses of the desert] fed Bound their unenvied peer ! And so he knew lU DniLL BOOS. IV. i-^'' That God is sovereign] o'er earth's sceptred l^rds. But thou, liis 8(5u, unwarned, untaught, untdmedf Jielshazs/ir, hast arisen agriinst the Lord, And in the vessels of His h('>uso| hast quqffed Profane libations, 'mid thy slaves and women, To gods of gold, and stcino, and wo6(l, and laughed The King of kings, the God of g^ds, to scorn. ' Now I hoar the words, and hoar their secret meaning— " Numbered t " twice " Numbered ! Weighed I Divi- ded!'' King, Thy reign is numbered, and thyself art wMghed, And wanting in the balance, and thy realm Severed, and to conrjuering Persian given ! Milinan. MERCY TO ANIMALS. I would not enter on my list of fi fends | * (Though graced with polish'd manners and fine sense, Yet wanting senslhility) the m^n Who needlessly sets foot upon a worm. An inadvertent step| may crush the snnfl That crawls at evening in the public p^th ; But he that has humanity, forewdrn'd. Will tread aside, and let the reptile live. ^ The creeping vermin, loathsome to the sight, And charged, perhaps, with vendm, that intrudes, A visitor unwelcome, into scenes Sacred to neatness and rcp6se, the alc6ve, « i 1. Read the parenthetic clause in lower pitch. Return to the pilch of "friends" on the word "man," thus counectiuif by the cniphalio tie. (Par. 220.) 2. Connect " creeptn? vermin " with " may die," reading both phrases in a louder Woe, and Um interveuuig uiause in a lower tone. DRILL BOOK. m wer of the voice, but not quiuldy. 116 DntLt DOOR. Charge for iho guntt/' iio said * li»l,o t Im vftUoy of «U;nih UihIo Uio nix iMiudi'od. 3. • " Forward ili^ Light Brigade T* • Wa8 tlioro a nuui diHindyM '( Not (.hough Iht' Hohlior kiiu>v Bomo one hud UktKh'r'd : Tholrs not to iivike it^ply, Th«)ir8 not to ix^iwon why, Thoirs but to ilo \ and die. ' luto tlio valloy of (K»ath Rodo thu tiix hunitrud 3. • Cannon to rh/ht of (luNtu, Cannon to A;/i of (Iioni, Cannon inji'ont of th6in, " Volky\l aiul tlie six hundred. 4. Return to solutnn delivery aa No. 2. ^ Siinihu- to Na &. e With VMSKy Mid boMlMUk 7. Suue M m>. '2. 8. Ltwd wmI iiuHiUiw. 9. Dw«n on " vollcy'd Mid tliiuidcrctl." 10. UMr "Ml" witli great power, but not too \\\$\\ nor too quick. .. DWi.h nooff. " Ffnnh'd I all Miojr Hnhr^H Hrtt, KlrwhM I fiM thoy tiiiriM in /lir, HalMing tho guririMH ihhv, Vhnrprw^ an /irmy, wliile All ilio world wmittyr'd: rinKgod in tlio bftUcjry-«fri('»ko, lUglit tlvrouyh tho lino | tli^y biMte; 0()««n«k and tluHnl/in "R'el'd I froK' ».lio Nftbio Htrokn tilmUcr^d ari»l Hhmkr'd, "Tlion th(»y rodo l»kk, hut not— iV^oU J tlio Hix hiindrod. " Cannon to nglit of \\\hm, Cannon to left of thi-ni, Cannon behind th6m Volki/d and Ornndcv^d ; Storm'd at with shot and Hholl, Whilo horso and horo foil, They that had fought no w61l Camo through tho jawH of doath, Back j from tho mouth of hhUf ^ All that was loft of them ; Left of six hundred. w 11, Imitative action of swiftly drawlnjf ami wavlntr a tword, whirllnir It rKt/d At length brdke \in icr u.o, and now has left m6, Weary and old with service, to the mercy Of a rude stream, that must for ever hide me. Vain pomp and glory of this world, I hate ye ; I feel my heart new open'd. Oh, how wretched * Is that poor niAn | that hangs on pHnces^ favours ! There is, betwixt that smile we would aspire td, That sweet aspect of princes, and their ridii. More pangs and f6ars | than wars or women have ; And when he falls, he falls like Lhci/er, Never to hope agkin. • Hekr m6, Cr6mwell ; And, when I am forg6tten, as I shall be, 1. Bcijin L.P., median stress, slow movement and mournful expression. 2. Pe'ei> and solemn ; pause after " falls," as if contemplating bitterly his own fall. 3. Read the ^tiiHilc in a hitrhor or lower pitch than tlte metaphor, making the metitphor tho leading and more solemn thoujjlit. 4. Hcgin ' • Oh " mournfully but passionately, as suffering under a sense of injustice. 5. The 8)HHK-li to Crumwull is given with dignity and all the (ulnesa of. the orotu'xf^ ^oice. Bi^pn in L.P. W ^■ff':^'^mmm^m->. 11. 4 ORITiL BOOK. 123 And sloop I in dull | cold murblo, whoro no montion Of ino mdre \ must bo liquid 6f, say, I taught tlieo; Say, WolS'^jy, that once trod the ways of f/ldrf/, And soundod all tho deptlin and shoals of honour^ Found thee a wt. il'viHi n»nRi. Hiia r)A/ (niKV licadf \\\\\ .«;>»?>>? yoin* oountry'H r''i,An," hIjo Rtiid. * A t>h/?)f',w, t« /)/??*/» ol" xhi))m, Oxi^Y iho i)uH\ or (ho lon«lor oi\iuo ; ^ Tho nohh-r ntvtuvo within hin» fttirral 1\> iAfk rtt tliMt usSman'a y\wx\ ami wtSrd i • •• Who touohoH i\ /«WV ot' yon f/fviy /i/fif/ D\cs liU«» i> ''V ^ Mi\rch «Nn I " ho m\A. J. a. ir/nftiw, XUI. rATlUOTI*' PIUB. Whaf I whilo o\u' !un\s oi\t» wioM thoso bliUloB Shrtll wo rii'fiw io our sh.'uh^s— ();/f; .UtW^n) ??f(?r/, whoro, huriod d«»op The Sf>/'?v I f»\>in itiji toil may .vAv/) / iS'f>--(iOd of Iviiu's burning ski^s ! Thou .\vAr>rxlf tl/ ins>;l(nnous SiVMilioo, NtN — though of f\ll Ortrth's hopo biVroft, ZAfey stf^nh, jvad vkxokanok stili, aro lofb. \. Trpnisv." ("if RjK>, V\;t ^Tn• o\>nti\l ami onthusiAStl.' tin " slun^k '' luul " royiil will." ft. Hijli And foniil on " shvxit. " l^^t.h^\9 ivnd tiu^M ciu'nofitncsR of ai>|>«v»l, xvitlj tTRnj.^r, Oil "Spro\«>ur ivuntrj's flag."— Why should "shoot" have ft Jalnng itiid •* ffai$ " « risinc- nifl(\Mion ? 7. Suj>prossoiiw-a.nnth %. lii^U ai>d loud, vkiUi the sternness ot command. untT.r, nonif. 131 n\l will ." yl, with \i\g uiitl Wn'll UHilio fMir viillcy'H lookiiiy r/ivna /yiwjl In Mm HWOHtniok inimltt nf rni'iri, Till l.yrMii(,H ftfihififur, wlinii Mioir /*A//w/» 'r»»ll «)f (lin (ilM«l(or«' liliiDilii ^(lofi. /'(//A;//',!! Itmvo liniM(,H, (liin piln nMiiiiiiin Our n'/nffi> HtUf — (Vom fi/«f nui\ rhi)iiiM ; Itiii JiJM Uio bpHt, ilio liolinnt l»n(|, Wl»o BiiikH »mt,oinl»M | in MuHlmi, ilmd, j M'/orc, XIV. nriUTI/H AND (MHSIi;». JhntftH. llonioniiKU- Af(hrh, tlio H)rr,s of Mtur.h, rfuriMrnlifir. I>i.k!0 of our Jurgo honourH For HO nnich tr((Hh\\ «h may bo graHpnd //*//« / I had rathor l*o a doo, and bfVy tho mO"n Tlian Huch a lloniim. Shak/ifipftfirr, XV. IJENHY V. (fli'jh ryrolvnd.) Fight, gontloinon of Kngland ! fifjld, })old yf;ornf:n ; Draw, drchora, draw your arrowH to tho JtcAfl : Spur your proud horsoH hard, and ride in blood; Amazk the welkin with your broken davca. 132 DRILL BOOK. ""• A thousand heartsW are great within my bosom ; Advance our standards, set upon our foes Our ancient word of courage ; fair Saint George, Inspire us with the spleen of fiery drdgojis f Upon them ! Victory sits upon our Jielm. Shakespeare. XVI. CORIOLANUS DEFYING THE ROMAN POPULACE. {Great forcCf High pitch, Inflections extend over a fifth, Move- ment quick.) Let them pull dll about mine ekrs ; present me Death|| on the whehl, or at wild horses* heMs j Or pile ten hills]] on the Tarpeidn rdck, That the precipitation might down stretch Below the beam of sight ; yet will I still Be thus|1 to them, Shakespeare, Religious and Scripture Extracts. The Scriptures, rich in eloquence, poetry and profound thought, present the finest exercises fpr expressive reading. The general style of reading the Bible is marked not only by great defects, but by a peculiar mannerism heard in reading no other class of composition. It should be observed as a fixed rule that the Scriptures have no style of their own for reading. They must be read as we read the loftiest passages of any great poet or orator ; as we read Milton or Shakespeare ; only that the Scriptures demand a profounder reverence and solemnity than the works of any human authors. The hurry and mono- tony of school reading or the peculiar tones of pulpit delivery are alike opposed to all principles of good reading, and especially DRILL BOOK. 133 sare. Move- 'are. >found ading. ily by ading fixed iding. greafc that unity Qonc ivery jially of the Holy Scriptures. The same rules must be applied to reading all sacred lyrics or hymiis. Hence it is thought advi- sable to introduce these extracts with a passage from Milton, an extract from a sermon, and a hymn. XVII. god's providence. " Thy footsteps are not known."— Ps. Ixxvii. 19. * God\ moves] in a mysterious way His wonders] to perform ; He plants His footsteps] in the s6a, And rides I upon the st5rm. Deep I in unfathomable mines Of never-failing skill, He treasures up His bright designs, And works I His sovereign] will. Ye fearful saints, fresh coilrage tkke j The clouds] ye so muchj dr^ad Are lAg] with mercy and shall break In hUssings] on your h^ad. Judge I not I the L(5rd hj feehle sSfise, But tnist Him I for His grace ; Behind a frowning i)iovid6iice He hides I a smiling face. Blind unbelief | is siire to 6rr, And scan His workj in vain; God I is His bum interpreter, And He] will make it 2i^i'n. Cowper, In reading the above hymn, study to avoid sing-song. This Utuy be accomplished, (1) by dwelling longer on the italicized 134 DUILL BOOK. words, (2) by avoiding too strong accentuation on accented syllables, (3) by frequent pauses, especially where uuiikod by the upright dash. XVIII. ANGELIC PRAISE TO GOD. (Orotund throughout, Pitch varied, Median stress.) " Great are thy warks, JeikJvaii ! infinite Thy power ! What thought can me5,sure th6e, or tongue Relate th6e ? Greater now ( in thy return \ Than from the giant angels ; th6e | that ddy Thy thicnders magnified ; but to create Is greater than created | to destroy. Who can impMr tMe, Mighty King, or bound Thy empire ? Easily the proud attempt Of spirits apostdte, and their counsels vain, Thou hast rep^ll'd ; while impiously they thought T/iee I to diminish, and from thee | withdraw The number of thy w6rshipp6rs. Who seeks To lessen thee | against his purpdsc | serves To manifest | the more thy might : liis evil Thou us^st, and from thence | createst more go6d. Witness this new-made w6rld, another heaven From heaven-gate not far, founded in view On the clear hyaline, the glassy sea. Of amplitude almost imimnse, with stars Niimerous, and every stkr, perhaps, a wdrld Of destined habitation ; but thou know'st Their seasons : among these | the seat of mfen, Edrth I with her nether ocean circumfdsed, Tlieir pleasant dwelling-piaue. Thrice happy m^n | • DRILL BOOK. 135 jcented iod by ; ongue And sSns of mvn, wliom God hath thus advduced I Created in his image, there to dwell And wbrship him ; and in reward to nild Over his w6rk8, on earth, in sea, or air, And multiply a race of worshippers H(51y and just : thrice happy, if they know Their happiness | and persevere upriyht !" XIX. CHRISTIAN ASSURANCE. "Simon, Simon, Satan hath desired to winnow thee ( as whhat'y" here is our ^Oi7; "but I have prayed for thee, that thy faith /ail not •" this is our safety. No man's condition so sure as ours : the prayer of Christ | is more than sufficient] both to strengthen us, be we never so w6tik ; and to overthrow all adversary power, be it never so strong and patent. His prayer must not exclude oiir lahbur. Their tliouglits are vain, who think that their watching can preserve the city | which God himselfj is not willing to kdep. And are not theirs as vain, who think that God will keep the city, for which they themselves | are not careful to tcdtch ? The husbandman may not therefore burn his plough, nor the mei'chant forsake his trade, because God hath promised, "/ will not forsahe thee." And do the promises of God, concerning our stability, think you, make it a matter indifferent for lis to lise or not to use the means where- by I to attend or not to attend | to redding ? to pi'dy or no< to prdy, that we fall not into temptation 1 Surely | if we look to stand in the faith of the sons of G6d, we must hourly, con- tinually, be providing, and setting ourselves to strive. It was not the meaning of our Lord and Savidur, in saying, " Father, keep them in thy Name," that we should be careless to keep our- selves. To our own safety, our own sedidity is required. And then I blessed for ever and ever | be that mother's child, whose fuith. hath made him the child of Gbd» The earth may shake Idft bntT.t boott. tho i)illar8 of tho world nuiy trcmhh undor us : tlio 00 nntenfttlCft of the heaven may bo apptUled ; the sun may lose his light, the moon I her heiiuty, the stars their glory : but | concerning the man | who trustetli in 06d, if the tiro have proclaimed itself unable as much as to singe a hair of his head ; if li^ns, boasts ravenous by nj\turo, and keen with hhngor, being set to dev6ur, have, as it were, religiously adored the very fle^h of the faith- ful mdn ; what is there in the world | that shall change his hedrt, overthrSw hia faith, alter his affection towards God, or the affection of G6d to him ? If I be of thv) note, who shall make a separation between me and my Gdd ? Shall tribuldtion, or Anguish, or persecution, or filiuine, or nfikodness, or p6ril, or 8w6rd 1 Nb ; I am persuaded that neither tribuldtion, nor dnguish, nor perseciition, nor fdmine, nor nakedness, nor perfl, nor swbrd, nor dikth, nor life, nor dngels, nor principdlities, nor j5wers, nor things present, nor things to c6me, nor height, nor d^pth, nor any other creature | shall ever prevail so far over me. / know in whom I have kklieved ; I am not ignorant | whose precious blood \ hath been sliiid for me ; I have a SJi^p- hm'd\ixx\\. of kindnfsss, full of cdre, and full of pdwer: unto Him I I commit mysMf ; his own finger hath engraven tliis sentencs I in the tdbles of my heArt : " Satan hath desired \ to winnow thee I as wheat : but I have prayed that thy faith fail nbt." Therefore the assurance of my hSpe, I will labour to kSep j as a jewel unto the end; and by labour, through the gracious mediation of His i>rayer, I shall keep it. Hooker. XX. SCRIPTURE EXTRACTS. (Appeal and indignation, varied with pathos ; Pitch middle and low; Median stress; Movement slow.) Hear, heavens *| and give ear, O eiirth : for the Lbrd hath tpoken, ' I have nourished and brought up children, and they 1. SoI«mu aud mournful, H.P., slow. S. Pitch a littlu Iii8:h«r, spoak 8lu\vor« bt^lLL fiOOIt. 137 have rc.h^tled against mo'. The ox knoweth his ownht and the 088 I his master's crih: but Tsriiel doth not knbw, my people doth not consider. * Ah sinful nati/'my a people j laden with iniquity f a seed of cvUdbcrs \ children — that are connipters : they have foradknn the Lbrd, they have provdked the Holy One of Isrdel || unto dnrjer, they are gone away ) haclintml. I ' Wash y6u, make you cUan ; put away the evil of your doings \ from before mine eyes ; cease to do evil ; " ' learn to do wHl ; seek judgment, relievo the oppriasod, judge the fatherless^ plead I for the widow. Come now, and let us reason togetlicr, saith the Lhrd ; • though your sins be as scdrlet, they shall be as white as snbto ; though they be red like crimson, they shall be as wbol. If yo bo wil- Hngll and obedient, ye shall edt of the gobd of the land ; but if yo rfttLt BOOK. 139 delivered Him up for us dU, h6w s';all he not| with him als6| freely give M«] all things? Who shall lay anything to the charge of GocTa elhct ? It is G6d that justi/ieth. Who is he that condemneth ? It is Christ that died, yea, rather that is risen agkin, who is even at the right hand of God, who also maketh interckssion for us. Who shall separate us] from the love of Christ ? Shall tribuldtion, or distress, or persecii- tion, or fdmine, or nakedness, or peril, or swdrd (or sw6rd) 1 As it is written, For thy sake we are Jdlled all the day long ; we are accounted as shkp for the slaughter. Nay, in all these things we are mdre than conquerors, through him I that loved iis. For I am persudded that neither death, nor life, nor angels, nor principalities, nor pdwers, nor things present, nor things to cbme, nor height nor depth, nor any other creature\\ shall be able to separate us| from the love of God which is in Christ Jesus our Lord. — Romans viii. (Movement slow, Deep orotund. Pitch varied.) XXIV. Behold, I show you a mystery ; we shall not all sISep, but we shall be changed, in a mbment, in the twinkling of an bye, at the last triimp : ^ for the trumpet shall sound, and the dead shall be raised \ incoi'ruptihle, and we shall be changed. ^ For this corruptible \ must put on incorruption, and this mortal must put on w/imortklity. So when this cor- ruptible shall have put on i/icorruption, and this mortal shall have put on iram6rtality\\ then shall be brought to pass the say- ing I that is written, — ^ Death is swallowed up | in VicTORY. * O death \ where is thy stivi^ 7 O grave | where is thy victory ? The sting of dedth | is sin, and the strength of sin is the law. • But tha/nks be to Gbd \ which giveth us the victory through our Lord Jesus Christ. 1. High pitch. i. Deeper and more solemn. 5. High and uxulUnt. 3. High and exultant. 4. Deep and slow. ■ 140 DRILL BOOK. XXV. TUB LUUU'S FUAYER. (Tone reverential, Middle and low pitch — never high. Median stress, Movement slow, varied %/oith pathos.J Our FatherII which art in Hedven,\\ hallowed be thy ndme. Thy kingdom cbme. Thy will be done 6n 6arth\\ d,8 it is in HeJiven. Give us this ddy|| our daily bread. Anii forgive us our trespasses, as wi forgive th6m|| that trespass against ks.* And lead us n6t | into temptation, but deliver us from evil : for I thine | is the kingdom, and the pow^r, and the gl(5ry|[ for ever and 6ver. Amen.t ^Caution. — A void giving, as many do, the emphasis of sense to " against " instead of " us." The word " trer|mss " im- plies against, and the words " them " and "us" are contrasted. t Amen. The Italian broad A, as in calm, is far more im pressive than A as in gale. No good vocalist sings Amen in the latter style, because the tirat allows more grandeur and beauty to the voice. Practise a class in reciting the whole prayer by themselves, us explained above. r- EXAMINATION PAPERS. Method of Answering. 1. The extract given for examination should be written on paper from the printed copy. 2. The inflections should be marked according to the method used in this book. 3. The pauses can be marked with an upright dash made between the words where the pause occurs, one, two or three dashes being used according to the required length of the rhetorical pause. 4. Emphasis can be indicated according to the printers' rule ; viz., the emphatic word must be underlined in the follow- . ing way : Emphasis of sense, one line — italica. Emphasis of feeling, two lines — small capitals. Emphasis of feeling (extraordinary)— three lines- capitals. 5. When the question refers to the Modulation or Pitch, it may be answered by italicizing the passage, and writing on the margin opposite to its commencing word, KP., M.P., or H.P., as may be determined by the pupil. 6. The Stress may be indicated by a mark written over the word, thus : — > Radical stress, arm. <> Median stress, fire. < Vanishing stress, I won't. 142 DRILL BOOK. 7. When the question is one bearing on the npirit or the meaning of a passage, it must be written in the language of the student. Indicate the inflections in the following passages by the usual marks, the emphatic words by marking in italics, and pauses by the dash : — XXVI. The scene was changed. It was an eve of raw and surly mood, And :n a turret-ohamher high of ancient Holyrood Sat Mary, listening to the rain, and sighing with the winds That seem'd to suit the stormy state of men's uncertain minds. The touch of caro had blanch'd her cheek — her smile was sad- der now, The weight of royalty had press'd too heavy on her brow j And traitors to her councils came, and rebels to the field ; The Stuart sceptre well she sway'd, but the sword she could not wield. She thought of all her blighted hopes — the dreams of youth's brief day, And summoned Rizzio with his lute, and bade the minstrel play The songs she loved in early years — the songs of gay Navarre, The songs perchance that erst were sung by gallant Chatelar ; They half beguiled her of her cares, they soothed her into smiles, They won her thoughts from bigot zeal and fierce domestic broils : — But hark ! the tramp of armM men ! the Douglas' battle > ! They come — they come! — and lo ! the scowl of Ruthven's hol- low eye ! And swords are drawn, and daggers gleam, and tears and words are vain — : DRILL BOOK. 143 ! hol- land The niffian stool is in his hoart— the faithful Kizzio's slain I Then Mary Stuart dash'd asido the tears that trickling fell : " Now for my father's arm I " she said ; " my woman's heart, farewell Bell. Indicate the emphatic tie ly grouping, in the following passages, the words related in italics : — XXVII. Art thou that traitor-angcl, art thou he Who first broke peace in Heaven, and faith till then Unbroken ; and in proud rebellious arms Drew after him the third part of Heaven's sons, Conjured against the Highest 1 XXVIII. Say, first, for Heaven hides nothing from thy view, Nor the deep tract of hell. XXIX. Me, though just right and the fixed laws of Heaven Did first create your leader ; yet this loss, Thus far at least recover'd, has much more Established. Note. — In grouping, the relation of words is shown by de- liverii^g bhe related passages in a similar pitch and tone of voice. When more than a leading group is to be indicated, the leading group may be marked in capitals or small capitals, the next subordinate group in italics, and the lowest group in common letters. Selections from Goldsmith's '< Deserted Village." XXX. THE VILLAGE PREACHER. Ma! \' the inflections of italicized words. Mark the rhetorical pauses in lines 2, 5, 6, 7, 11, 12, 24, 25, 26. 144 DniLL rnoR. : Mnvk tho fim)>linH»' won\ii in linon 2, 4, fJ, H, R, 0, 11, 12, 14, 15, 17, 18, 10, 22, 24, 20, iin«1 givo ihuiu ihnk proper iiilleo- tionp, Tn ilto (h'ht four linon how wouM you iliRtiiiguiHli, (I) Uie nioilnlatiooH of (vl rpiUouoo IVom tlio Hiihonlinafco Bont(MUM»H, (*J) (ho mo«Urvin^ momhovR ol' ilio priiioipnl mix- ttMioo \h>\\\ tl»o HuhjtH^ nn«l pi'»Mli»'aio< Wliiit iVvlinjjiHhouM pnMlominato in linos 9 an8 1 1. Noar yonder copsSf whore ouoe tho gardon smiledf 2. And still whoix^ many a gardon llowu* grows wild, l\. rhoix>, wlion^ a tow torn shrulm tho placi> disclose, 4. Tho villiijjfo pr<>ar^s niodost nuuiHion rose. ft. A man ho was to all \\\o oonntry doar, l>. And i>{»«sing rich with forty pounda a yoar ; 7. Koaioti* fwm towns ho ran his godly raoo, 8 Nor e'or had changed, nor wish'd to ohaugo, his placo ; 9. Unskilful ho t\^ fawn, or sook for powor, 10. By divtrinos fashion 'd to tho varying fiour : 1 1 . Far othor aims his luvvrt had loarn'd to prhe, 12. More bont to raise the wretcJicd than to rise. 13. His house was known to all tho vagnnit train — 1 4. He chid their icaiui^rin^^n, but roliovod their pain ; 15. The long-remember'd beggar was }*s giifM, 16 AVlic^se Ivaixl, descending, swept his aged breast ; I 15 r(>i blc (5 f the ] am iMiiM. nooK. 146 17. TIio iniiiM n/ii'inff/ni/f, tidw no lofi^nr |»roii(l, IH. OliiiliiM lh ol'Horrow »lonr, 22. HImmiMoiM IiIh cruir/i, find hIiowM Imw fioIdH worfi Wfm. 2.'). I'I. 24. And ()iiil.(» I'of^ol. iJirir- vic^iH in Uioir woo; 25. ()M,iH 'A, h, 7, !>, II, l2, I .'{, I 1, 15, 10. Wlial. paRHa^oH in fclio mwcvi-AiUf^ lirifR can l»o ^roiipod, / «., road in t-!io miino pilch and ol/liorwiHO Hirnilarly wit,li "How M(*h(, iH ho," lino .'H How would yoii diHliniioiiMli l»y rnodulMf-ion tlio claii.so inline IVoin lliat in wlii(;li ilio provinnM line )i,nd Hucoocding {»art of tho Haino it> niodiiioH '( Mark tho (^niplmt.io wordH ifi linos I, 0, 10, 11., 12, 14, 16, untl giv(! thom ilioir proj-'-r inflootionn. 1. O bloHt retirein.o/id, fViojid (o IjCo'm dcdiw,^ 2. Uoti'catB from caro that novor nniHfc ho niina^ .'{. liow blofii \h he whf) crowoH in »hado.9 liko tkn^p,^ 4, A youth of labour with an a(j<', of naHi', ; 5. Who quits a world wlnsro Htrong tomptation.'t ivj^ (). And sinco 'tis hard to combat, loarns to Jl/y ! 7. For him no wretches, horn to work and weep, 8. Exploro tho mine, or tonipt tho dangerous dtejp ; ' lit bRILL BOOK. I- 9. No surly porter stands in guilty state, 10. To spurn imploring famine from the gate, 11. But on he moves to meet his latter end, 1 2. Angels around befriending virtue's friend : 13. Sinks to the grave with unperceived decay, 1 4. While resignation gently slopes the way ; 15. And all his prospects brightening to the last, ( 16. His heaven commences ere the world be past. XXXII. INVOCATION TO POETRY. • Mark the inflections of italicized words. Mark the rhetorical pauses in lines 2, 3, 9, 13, 17, 18, 19, 21, 23, 24. What feeling should predominate in reading the first ten lines, and how should the apodosis be distinguished from the previous members of the invocation ? With which lines and clauses must "Farewell, and !" in the 11th line, be grouped, and how shall the group be distinguished from the intervening clauses 1 How would you pronounce " tlie " instead of " th' " before "inclement, " in 16th line, without violating the metre? In the 19th line how could it be shown in reading that " states of native strent^th possest " does not designate simple possession ; and, with which members of the sentence must ** Though very poor " be grouped 1 How would you deliver the similes in lines 22 and 24 ? Why should it be an exception to the rule for delivering similes 1 Give the rule. .^<" y Mark the emphatic words in lines 1, 3, 4, 8, 10, 15, 16, 17, 18, 19, 20, 21, 23, 24, and give them their proper inflections. ( DRILL BOOK. 1. And thou, sweet Poetry , thou loveliest maidf 2. Still first to fly where sensual joys invade^ 3. Unfit in these degenerate times of shame, 4. To catch the heart, or strike for honest fame ; 5. Dear, charming nymph, neglected an:] decried, 6. My shame in crowds, my solitary pride, 7. Thou source of 8^1 my hliss and all my woe, 8. That found'st me poor at first, and kept'st me so ; 9. Thou guide by which the nobler arts excel, 10. Thou nurse of every virtue, fare thee well ! 11. '.Fare well, and 0! where'er thy voice he tried, 12. On Torno's cliffs, or Pambamarca's side, — 13. Whether where equinoctial fervours gloio, 14. Or winter wraps the polar world in snoiv, 15. Still let thy voice, prevailing over time, IG. Redress the rigors of th' inclement clime ; 17. Aid slighted Truth with thy persuasive drain ; 18. Teach erring man to spurn the rage oi (jain ; 19. Teach him that states of native strength pot<>iL>it, 20. Though very poor, may still be very hlest ; 21. That trade's proud empire hasten to swift decay, 22. As oceans sweep the labour'd mole aiony ; 23. While self-dependent power can time dvjy, 24. As rocks resist the billows and the sky. 147 XXXIII. LUXURY. Mark the inflections on italicized words. Mark the rhetorical pauses in lines 2, 3, 4, 6, 7, 10. Group by modulation the leading words of lines 5 and 6. ^ us DBILL BOOK. Mark the emphatic words | the emphasis of sense ri italics, and of feeling in small capitals | in lines 1, 2, 4, 5, 8,, 10, and mark the inflection appropriate to the emphasis of feeling. 1. O luxury I thou cursed by Heaven's decree, 2. How ill exchanged are things like these, for ihec ! 3. How do thy potions with insidious ^oy 4. Diffuse thy pleasures only to destroy ! 5. Kingdoms by thee, to sickly greatness grown, 6. Boast of a florid vigour not their own ; 7. At every draught more large and large they grow, 8. A bloated mass of rank, unwieldy woe ; 9. Till sapp'd their strength and every part unsound, 10. Down, down they sink and spread a ruin round. . XXXIV. MARCO BOZZARIS. In the following stanza, what inflection uiu.st bo given to the italic words ? Give your reasons. What word takes the leading emi)hasis in the 4th, Gth, 7th, 8th and 9th lines % State where the rhetorical pauses occur in the 2nd, 4th and 7th lines. What variation should be made in the modulations of the 3rd and 4tli lines '\ Give your reasons. 1. At midnight, in his guarded tent, 2. The I'uvk was dreaming of the hour 3. When Greece, her knee in bi'ppliance bent, 4. Should tremble at lii.s power ; " 5. In dreams, through coast and camp, he bufe 6. The trophies ol a cotujueivr; DRILL BOOK. U9 I 7. In dreams Lis Rong of fcriiiraph heard; 8. Then wore his monarch's signet ring ; 9. Then press'd that monarch's throne — a king ; 10. As wild his thoughts, and gay of ichig, 11. As Eden's garden bird. XXXV. FROM MARK ANTONY'S SPEECH. Mark the inflections of the italicized words, nnd give your reasons. Mark the emphatic words in the following lines ; state if they should have the emphasis of sense or of feeling, and indi- cate their appropriate inflection; viz., lines 2, 7, 12, 14, 17, 19, 20, 24, 31, 37, 41, 42, 43, 45, 47, 48, 51, 52, 59, 63, 64. With what expression of feeling does Antony speak the lines 9, 10 and 11, and what difierence in the modulation of lints 10 and 11? In line 27, Antony suggests doubt of the " honourable " cha- racter of the assassins of Cassar, Give the appropiiate inflections to " sure" — " honourable man." How should Antony begin lines 36 to 40 1 What expression follows in the succeeding lines 1 What changes of modulation (pitch) distinguish lines 53, 54, 5 ,56? Which words take the higher and which the lower pitch 1 What feeling does Antony wish to arouse with the words " Which all the while ran blood," and what modulation should be given to them ? Indicate the rhetorical pauses in lines 3, 15, 21, 29, 35, 38^ 41, 42, 43, 50. 150 DRILL BOOK. r > Antony. — Friends, Romans, countrymen, lend me your oars ; 2. I come to bury CiBsar, not to praise hhn. 3. The evil that men do lives after them ; 4. The good is oft interr'd with their bones ; 5. So let it be with Csesar. The noble Brutu* 6. Hath told you Caesar was ambitious ; 7. If it were so, it was a grievous fault : ' 8. And grievously hath Csesar answer'd it. 9. Here, under leave of Brutus and the rest, 10. (For Brutus is an honourable man \ 11. So are they all, all honourable men,) 12. Come I to speak in Caesar's funeral. 13. He was my friend, faithful and just to ma : 14. But Brutus says he was ambitious : 15. And Brutus is an honourable man. IG. He hath brought many captives home to Roma, 17. Whose ransoms did the general coffers fill : 18. Did this in Caesar seem ambitious ? 19. When that the poor have cried, Ctesar hath wept 20. Ambition should be made of sterner stuff 1 21. Yet Brutus says he was ambitious •, 22. And Brutus is an honourable man. 23. You all did see, that on the Lupercal 24. I thrice presented him a kingly crown, 25. Which he did thrice refuse. Was this ambition f 26. Yet Brutus says he was ambitious : 27. And, sure, he is an honourable man. 28. I speak not to disprove what Brutus spoke, 29. But here I am to speak what I do know. DRILL BOOS. 161 lars; 30. You all did love him once — not without cause; 31. What cause withholds you then to mourn for him 1 32. O judgment, thou art fled to brutish beasts, 33. And men have lost their reason. Bear witli me j 34. My heart is in the coffin there with Caesar, 35. And I must pause till it come back to nie. 36. If you have tears, prepare to shed them now. 37. You all do know this mantle : I remember 38. The first time ever Csesar put it on ; 39. 'Twas on a summer's evening, in his tent, 40. That day he overcame the Nervii ; — 41. Look ! in this place ran Cassius' dagger through : 42. See ! what a rent the envious Casca made : 43. Through this the well-beloved Brutus stabb'd; 44. And, as he pluck'd his cursed steel away, 45. Mark how the blood of Ctesar follow'd it, 46. As rushing out of doors, to be resolved 47. If Brutus so unkindly knock'd, or no ; 48. For Brutus, as you know, was Caesar's angel : 49. Judge, O ye gods, how dearly Caesar loved him ! 50. This was the most unkindest cut of all : 51. For, when the noble Caesar saw him stab, 52. Ingratitude, more strong than traitors' arms, 53. Quite vanquish'd him : then burst his mighty heart ; 54. And, in his mantle muffling up his face, 55. Even at the base of Pompey's statue, 56. Which all the while ran blood, great Caesar fell. 57. Oh, what a fall was there, my countrymen I 58. Then I, and you, and all of us fell down, QQ^ \yhile bloodv treason flourish'd over us,^ 152 DRILL BOOK. 60 Oh ! now you weep ; and, I perceive, you feel 61. The dint of pity : these are gracious drops. 62. Kind souls, what, weep you, when you but behold 63. Our CjBsar's vesture wounded ? Look you here, 64. Here is himself, marr'd as you see, by traitors. XXXVI. SELECTIONS FROM MACBETH. In the following speech explain the prevailing sentiment in Macbeth's mind. Mark the inflections of the italicized words, and give your reasons. Point out the words requiring emphasis in the following lines : 3, 7, 8, 10, 12, 13, 14, 15, 19, 27, and mark the proper inflections. From the 21st line to the word " wind " in the 2r)th line, dis- tinguish the group of words that take a higher pitch and a stronger emphasis from those which are subordinate. Supposing the first line were to finish at " well, " and " quickly " should be dependent on the words that follow, what change would take place in the inflections of "well " and " quickly," and how would the change affect the meaning of the passage ? * Mark the rhetorical pauses in lines 7, 9, 14, 15, 19. Suppose the comma after " besides," in line 16, were put after " this " instead, what effect would the transfer make in the sense and require in the reading 1 1. Macbeth. If it were done when 'tis done, then 'twere well 2. It were done quickly : if the assassination '^ This waa the reading of Mr. Macready, the celebrated tragedian. DRILL BOOK. 153 1 3. Could trammel up the consequence, and catch 4. With his surcease success ; that but this blow 5. Might be the be-all and the end-all here, 6. But here, upon this bank and shoal of tiniG, 7. We'ld/MmjD the life to come. But in these cases 8. We still have judgment here ; that we but teach 9. Bloody instructions, which being taught return 10. To plague the inventor : this even-handed yM^/Zco 11. Commends the ingredients of our poison'd chalice 12. To our own lips. He 's here in douhle trust ; 13. First, as I am his kinsman and his subject, 14. Strong both against the deed ; then, as his hofit, 15. Who should against his murderer shut the door, 16. Not bear the knife myself. Besides, this Duncan 17. Hath borne his faculties so meek, hath been 18. So clear in his great office, that his virtues 19. Will plead like angels trumpet- tongued againyt 20. The deep damnation of his taking-off ; 21. And pity, like a naked new-born babe, 22. Striding the blast, or heaven's cherubim, hoi-sed 23. Upon the sightless couriers of the air, 24. Shall blow the horrid deed in every eye, 25. That tears shall drown the wind. I have no spur 26. To prick the sides of my intent, but only 27. "Vaulting ambition, which o'erleaps itself 28. And falls on the other. Mark the Inflections of all important words. Which word takes the leading emphasis in the 2nd line 1 Give reasons for your selection. 164 DRILL BOOR. Select the emphatic words in each of the succeeding linos. What is the prevailing feeling in the mind of Macbeth as ho speaks these words, and what qualities of voice should be exer- cised in delivering the whole, and especially the emphatic words of this passage 1 Collier puts "grief" for "stuff" in the 10th line. Why is "grief" not so oxpi-easive of the state of Lady Macbeth 's mind ' as "stuff"? 1 . Macbeth, How does your patient, doctor 9 2. Doctor. Not so sick, my lord, 3. As she is troubled with thick coming fancies 4. That keep her from her rest, 6. Macbeth. Cure her of that. 6. Canst thou not minister to a mind diseased, 7. Pluck from the memory a rooted sorrow, 8. Eaze out the written troubles of the brain, 9. And with some sweet, oblivious antidote, 10. Cleanse the stuff 'd bosom of that perilous stuff 11. Which weighs upon the heart 1 XXXVII. ABDIEL REBUKING SATAN. Mark the inflections of the italicized words, and give your reasons. Mark the emphatic words on lines 8, 19, 21, 33, 39. As the character of Abdiel is described in the last twelve lines, in what style, voice, stress and pitch should the passage be delivered ? How will you distinguish the speech of Abdiel from the nar- rative part of the last twelve lines? Mark the rhetorical pauses in lines 9, 10, 13, 14, 18. 19^ DRILL BOOK. 155 I ho cer- jT IS ind ' ir 16 Dr. Rush suggosta that instead of a comma after " faithless/' in the 21 st line, there should be a full stop, and that the comma after " unterrified " should be a semicolon : what change would this make in the sense, and require in the reading] What words will have the same inflection in line 17 ? your reason. 1. " O alienate from God, O spirit accursed, 2. Forsaken of all good ! I see thy fall 3. Determined, and thy hapless crew involved 4. In this perfidious fraud, contagion spread 5. Both of thy crime and punishment ; henceforth 6. No more be troubled how to quit the yoke 7. Of God's Messiah ; those indulgent laws 8. Will not be now vouchsafed ; other decrees 9. Against thee are gone forth without recall ; 10. That golden sceptre which thou didst reject 11. Is now an iron rod to bruise and break 12. Thy disobedience. Well thou didst advise; 13. Yet not for thy advice or threats I fly 14. These wicked tents devoted; lest the wrath, 15. Impendent, raging into sudden fiame, 16. Distinguish not ; for soon expect to feel 17 His thimder on thy head, devouring fire. 18. Then who created thee lamenting learn. 19. When who can uncreate thee thou shalt know.'* 20. So spake the seraph Abdiel, faithful found 21. Among the faithless, faithful only he; 22. Among innumerable false, unmoved, 23. Unshaken^ unseduced^ unterrified^ Give 156 DRILL BOOK. 21. His loyalty he kept, Iiis love, his zeal ; 26. Nor number nor example with him wrought 2G. To swerve from truth or change his constant mind, 27. Though simple. From amidst them forth ho pass'cl, 28. Long way, through hostile scorn, which he sustain'd 29. Superior, nor of violence feared aught ; 30. And, with retorted scorn, his back he turn'd 31. On those proud towers to swift destruction dooni'd. god's approval of abdiel's loyalty. 32. Servant of God, well done ; well hast thou fought 33. The better fight, who single hast maintain'd 34. Against revolted multitudes the cause 35. Of truth, in vjord mightier than thoy in arms ; 36. And for the testimony of truth hast borne 37. Universal reproach, far worse to bear 38. Than violence ; for this was all thy care, 39. To stand approv'd in sight of God, though worlds 40. Judged thee perverse. Milton. i 1 XXXVIII. RHYTHM AND METRE. Mark the rhythm in the following passage, according to rules in par. 238 : — It is now sixteen or seventeen years since I saw the Queen of France, then the dauphiness, at Versailles ; and surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she just began to move in — glittering like the morning star, full of life, and splendour, and joy. Oh, what a revolution ! and what a heart must I have to DRILL BOOK. 167 contomplate without emotion that olovation and that fall I Little (lid I dream, when she added titles of veneration to that entliiisiastic, distant, respectful love, that she should ever bo obliged to carry the sharp antidote against disgrace concealed in that bosom; little did I dream that I should have lived to see such disasters fallen upon her in a nation of gallant men, in a nation of men of honour and of cavaliers. I thought ten thousand swords must have leaped from their scabbards to avenge even a look that threatened her with insult. Burke. I am the Resurrection and the life, saith the Lord ; he that bolieveth in me, though he were dead, yet shall he live; and whosoever livoth and believeth in me shall never die. I know that my Redeemer liveth, and that he shall stand at the latter day upon the earth, and though worms destroy this body, yet in my flesh sliall I see God. Mark the metre in the following passages, according to pars. 238 and 244 :— es n 3r •e Where'er we tread, 'tis haunted, holy ground, No earth of thine is lost in vulgar mould, But one vast realm of wonder spreads around, And all the Muse's tales seem truly told. Till the sense aches with gazing to behold The scenes our earliest dreams have dwelt upon ; Each hill and dale, each deepening glen and wold. Defies the power which crushed thy temples gone — Age shakes Athena's tower, but spares gray Marathon. Byran. 15d DUlLIi DOOK. Full many a !L];om of [Mirost my Hotcmo, The (lark uufathoinorl oaves of oc(!an bestr ; Full many a llow(3i* is boni to blush uiiHeen, And wasto ita swctituo.ss on tho »: lowing herd| v/inds slowly o'er the lea, *^vl ■MM 4 r. i\ DniLL Hook. The i>l()ngli!nan( liomowanl plods hiH wmn/ wfiy, Ariil loaves tho w(')fl(i| to darkmns and to im. 169 2. Now fuflasl tho gllrnmciing Innflmjapof on tho sfghfc. And all fcho air| a solGrnn stUlmss liulds, Sttvoj whoro the Ijootle | tvlicds liia droiiiug fl/glifc, And drowHv tmklli)gH| lull tlic distant ihUh : Save| that, from yonder ivy-mantlod tdwcr, The moping owJ| doeatothe moon conipTjim Of .such as, wandering near her accrot bower, Molest her ancientj KoHtary reign. Dencath those rnggod elms, that yew-troo's whado, Whore heaves the tur/\ in many a muiddcrlntj Ljit^., Eachj in his narrow cell for ever laid, The rude fortifalhem of i\iQ hamlet] sJehp. , W' '- ' The bree/.y call of incense- breathing nu^rn, The 6wallow| twittering from the straw-built shed, The cock's shrill clarion, or the echoing h('jrn, No wore] bhall rouse i/iew from their lowly \M, For th6inj no more the blazing hearth shall burn, Or busy hounewi/e\ ply her evening care ;, Ho children j run to lisp their sire's return, Or climb his knees] the envied uhs to Bhu-o. 160 L r DRILL BOOK. 7. Oft I did the harvest] to their sickles yi^ld, Their furrow oft| the stubborn glebe has br6ke : How jochnd] did they drive their team a-JiM / How bow'd the woods | beneath their sturdy stroke ! 8. Let not Ambition I moc^ their useful toil, Their homely ^'(5?/5, and destiny o6sc?«'e ; Nor Grandeur h^ar, with a disdainful S7nile, The short and simple annals] of the poor. 9. The boast of heraldry, the pomp of pbwer, And all that hcaaty, all that wealth e'er gave, Await alike I the inevitable hour — The paths of glory] lead but to the grave. 10. M. P. Nor you, ye 2:>roud / impiite to th^se the fault, If menioryl o'er their t6mb| no iroj)hies ra"se, I.. P. Where, through the long-drawn aisles and fretted vault, The pealing anthem] swells the note of praise. 11. C'an storied tirn, or animated hiUt, '^ Back to its mansion | call the fleeting breath 1 Can hoiuHvr's voi'et ! provoke the silent dust, OvJlattery\ soothe tUe dullj cold ear of dcathi H.P. DBILL BOOK. 12. Perhaps! in this imglected spot| is Mid tei 8ome fieart\ once pregnant with celestial fire / Hd^nds] that the rod oi e'mplre\ might have sway'd, Or waked to ecsidsy\ the living lyre. 13. M. P. But Knowledge] to thSir^yesl her ample pdge, Rich\ with the spoils of time | did Tie'er unrbll ; L. P. Chill penury repressed their noble rage, ArAfr6ze\ the genial current] of the sbuU 14. M. P. Full many a gem of purest ray serine The dark] unfathom'd caves of ocedu\ bear; Full many z,jihwW is born to hlush unseen, And waste its sweetness on the desert air. 16. Some village Hampden, that with dauntless breast The little tyrant of his fields | withst6od ; Some mute] inglorious Milton] h^re may r^st; Some Cromw611, guiltless of his country's bl6od. 16. Th' applause of list'ning senates | to commknd, The threats of pain and ruin | to despise, To scatter plenty o'er a smiling land, And read their history I in a nation's eyes, 17. Their 16t| forbade : nor circumscrib'd al6ne| Theii' growing virtueHj but their c)imes\ coufiued; m DRILL BOOK. Forbadel to wade| through slaughter] to a thrhne, And shut the gates of mercy \ on mankind ; as. The struggling pangs of conscious truth\ to hide: To quench the blushes of ingenuous afuime ; Or heap the shrine of luxiiry and pride, With incense j kindled) at the mM.se'* flame. 19. Far| from the madding crowd's ign6ble strife, Their sober wishes | never learn'd to str^y, Along the cool] sequester'd vale of life They kept the noiseless t6nor| of their way. 20. iet even tl\sse bones from insult to protkt, Some frail r)umoridl\ still erected nigh, With uncouth rhymes and shapeless sculpture] deck'd, Implures the passing tribute of a sigh. 21. Their name, their years, spell'd by th' unlettered miise, The place of fame and elegy ( skj^ply ; And many a hohj text] around | she streios, That teach the rustic moralistj to die. . 22. For •wh6| to dumb forgetfulness a pr(5y, This pleasin^l anxious being| e'er resigned, Left the warm precincts of the cheerful day, Nov oastj one] longing\ lingering look behiudf „ DRILL BOOS. Ill „ Jck'tl, lise, 23. On Bome fond breast | the parting soul reUeSf Some piotM drops J the closing eye requires ; Even from the thmh\ the voice of nature cn'ea, Even in our ashh\ live their wonted fires. 24. For thee, who, mindful of the unhonor'd d6ad, Dostj in these lines| their artless tale reldte, If chAnce, by lonely contemplation Idd, Some kindred spirit] shall inquire thy fate,— 25. Haplyj some hoary-headed swain may say, " Oft have we s^en him, at the peep of dawn, Blushing with hasty steps the dews away, To meet the silin| upon the upland lawn. 26. "Thhe| at the foot of yonder nodding b6ech, That wreathes its old fantastic roots so high, His listless length | at noontide would he stretch. And pore upon the brook j that babbles by. 27. " Hard by yon w6od. now smiling as in sc6rn, Muttering his wayward fancies, he would r6ve ; Now drooping, w6ful, wan, like one forl6rn, Or crazed with care, or cross'd iu hopeless 16ve. 28. " One morn I miss'd him on the accustoni'd hill. Along the heath, and near his favovite tree ; 164 DBILL BOOK. Another came ; nor yet beside the rfll, Nor up the Idwn, nor at the w6od was ho: 29. *' The next, with dirges due, in sad array, Slow through the church- way path we saw him b6rne : Approach, and read (for thou c^nst r6ad) the lay Graved on the stone | beneath yon aged thorn." THE EPITAPH. Here rests his head upon the lap of earth, A youth to fortune and to fame unknown ; Fair Science Trown'd not on his humble birth, And Melancholy mark'd him for her own. Large was his bounty, and his soul sincere, ' Heav'n did a rev. >mpense as largely send : He gave to mis'rj all he had, a tear ; He gain'd from heav'n ('twas all he wish'd) a friend. No farther seek his merits to disclose, Or d.aw his frailties from their dread abode; (There they, alike, in trembling hope repose,) The bosom of his Father and his God. QUESTIONS ON THE READING OF THE ELEGT. l8t Stanza. — Henderson, an eminent reader of the 18th cen- tury, made "tolls " an intransitive verb, and " knell" an appo- sitive to " curfew." How would this affect the emphasis, pause and inflection of the 1st line? 4th Stanza. — Why should the 4th line of this stanza be read higher than the 3rd and the 2nd lines ; and which of the three preceding lines laust be grouped in pitch and movement with the ^th line ] Give reasons. ^Par, 198.) DBILL BOOK. 166 le: md. ken- [po- ise 3ad ith €th Sianssa. — What fooling and what quality of voice sliould mark the reading of this stanza 1 (Par. 206.) 10th Stanza. — What inflection and quality of voice should prevail in reading this stanza 1 11th Stanza. — Why should the rising inflection prevail in this stanza, and why should it teiminate with the falling in- flection? (Par. 172.) 12th Stanza. — In what spirit should this stanza be read, and what pitch and quality of voice would best represent its spirit 1 Note the relation in thought, and therefore in voice, between this and the 15th stanza. 14th Stanza. — How are the similes in this stanza to be dis- tinguished from the passages of the 15th stanza 1 (Par. 202.) 16th Stanza. — What emphasis is given to "Hampden," " Milton " and " Cromwell," and whether should " village " or " Hampden " have the greater force 1 Give reasons. 16th, 17th and 18th Stanzas.— Why should " guiltless " have emphasis 1 What leading co-ordinate grammatical membera are there in these stanzas, and what subordinate members, and how shall their connection and distinction be expressed by the voice 1 ^Oth Stanza. — Why should the emphasis be given to " these") Supposing it were given to " bones, " what change would that make in the meaning of the passage 1 The pause after " memorial," the rising inflection to "nigh," and the lower modulation given to the phrase, show its subor- dination to " memorial." What change in gi*aramatical con- struction and what meaning would be given to the two lines, if that phrase were read as high as " memorial," and " nigh " had a falling inflection ? How should the relation of " d(;ck'd " and " implores " with the grammatical subject, be shownl 166 DBTLt BOOK. 21st Stanza. — Why should " namo," " years " and "supply" have most prominence, and how is that prominence given? (Par. 191.) 24th and 25th Stanzas. — To what passage in the 25 th stanza does "For thee" refer, and how shall the voice be made to show the relation 1 Which are the principal passages and which the subordinate in the two stanzas, and how shall the distinction be marked by the voice ? What distinction should be made between the subordinate clauses of the 25th and those of the 24th stanza? (This is a very important distinction, and a correct analysis of the sentence, guided by the rules for the reading of principal, subordinate and noun sentences, para- graphs 198, 199, and 204, will prepare the student to answer these questions.) Name and mark the emphatic words in stanza 28. What pitch and movement, and generally what spirit, should mark the reading of the 29th stanza ? Mark its rhetorical pauses. Mark the inflections and pauses and emphatic words of the three stanzas of the Epitaph. How shall the last line, and especially " The bosom, " be mstde to show its relation to the word in the second of which it is the appositive, and the third line be distinguished from the others by quality of voice ? Correct errors of inflection, pause and emphasis in the follow- ing passages, and give reasons for the alteration. The emphatic words are in italics : — Beneath those riigged elms, that yew-tree's shkde. Where heaves the turf in many a mouldering hekp, Each in his narrow cell for ever laid, Y^ie rude forefathera of the hamlet sl6ep. L DRILL BOOR. Fcr them no more the hlazimj hearth shall burn, Or busy housewife ply hor eohiiug euro : No children run to lisp their sire's return ; Or climh\ his knees the envied | kiss to shuio. 167 ' Inflections. Occasional Exceptions. Stanza 11. — According to Rule III., par. 172, every question beginning with a verb should end with a rising intlection. It is proper, however, for the prevention of monotonous similarity, that in a series of questions of this kind the last may end with a falling inflection. According to Rule I., par. 172, the extensions and modifications of the grammatical predicate when they precede the governing verb, i. e., when the sentence is inverted, take a rising intlection. Good taste and experience, however, allow an exception to this rule when, as in the following example, there are several separate and independent clauses in the inverted form. That exception is to give a falling inflection to every clause excepting the last. When this exception is carried out, the reader may in such an example as the following give the inflections as marked, but in all such instances he must be cautious that there shall be no descent in -pitch on %h.e final word ov syllable. Thus in "command," the syllable — " mand " should slightly rise in pitch, then descend in inflection, as if it were printed In the same way read " despise " and ** land." But as " eyes " is the last word of the dependent clauses it takes the rising inflection. The applause of listening senates to command, The threats of pain and ruin to despise, To scatter plen'.y o'er a smiling Iknd, And read their history in a nation's dyes, Their lot forbkde. When the logical subject of a sentence has several members, or when it is compound, the inflections that end each member or subject may be varied so long as the rising inflection is given to the last one immediately preceding the subject. As such exceptions are purely optional and left to the taste of the reader, they must not be regarded as strict rules. Examination Questions. :li SECTION I. 1. What organs of the body are engaged in the production of voice ? 2. What is the structure of the lungs, and how does the air act upon them 1 3. How are they connected with the external air 1 4. Where is the larynx 1 6. Name the various parts of the throat engaged in producing voice. 6. Explain the nature and action of the diaphragm in pro- ducing voice. SECTION II. 7. Describe the active and passive chest. 8. Explain the methods of executing deep, effusive, expulsive, explosive and abrupt breathing. SECTION II. CHAPTER III. 9. Define pure and impure tones. 10. Explain the method of manr^jing the vocal organs for pro- ducing pure tones. 11. Describe, and if possible delineate, the forms of the mouth in sounding ah, awe, o, oo, a, ee. 12. Give a list of the vowel sounds. i ith DBILL BOOK. 169 13. What names does Dr. Rush give them, and whyt 14. Name the compound vowels and give their constituents. 15. What defects are observed in sounding i in fine, and a as in male 16. What corrupt sound of ou in house is given, and how cor- rected) 17. What is the corruption of i in such words as ahility, char- ity, behold, &c. 7 18. Explain the method of practice for sounding the vowels. ' (jQJiapt&r V.) 19. Explain the method of explosive practice. 20. Explain and give a table of vowels according to their length or quantity. 21. Select a passage and mark off the vowels according to their number in the table (p. 22). 22. What is meant by articulation ? (Chap. VI.) 23. What are liquids, and what power do they possess in speech ) 24. Describe the processes for securing complete articulation. 25. Name all the atonies or aspirants. 26. Name their corresponding sub-tonics or sub-voc.ils. 27. Name the labials, and explain the action of the mouth in uttering them. 28. Name and describe the action of Dentals, Palate sounds, Nasal sownds, Aspirates and Linyuals. 29. Explain how to coiToct the erroi-s in connection with h. ,%. ^> IMAGE EVALUATION TEST TARGET (MT-3) A 1.0 I.I 1.25 ^ ilM IIM c I4g 112.0 1.4 1.6 Photographic Sciences Corporation 33 WEST MAIN STREET WEBSTER, NY. 14580 (716) 872-4503 ,-\ "Q V ^^ \\ 9> #, 6^ ^1? ^ ^^ <^ n? I 6^ 170 DRILL BOOK. SECTION IIL 30. What is modulation f 31. What is meant by the terms concrete and discrete f 32. Explain the key board of a piano. 33. Write out a musical scale for voice practice, and dc ;cribo the method of practice. 34. Draw a gamut ladder, and show how it may be used. 35. Explain the method of Inflection and its difference from Piteh. (Chap. II.) 36. Draw a scale for practising inflection , and explain the method of practice. 37. What is meant by Quality of Voice t 38. Name the essentials of a pure voice. 39. Describe the conditions for practice on quality of voice, viz. : (1) Method of breathing. (2) Carriage of the body. (3) Position of and form of the mouth and its organs. 40. What vowel sounds are the best for practice, and whyt How must we practise 1 < 41. Describe the orotund voice. 42. Describe the preparatory exercises for acquiring it, 43. What composition is the orotund best adapted for 1 44. Define stress. 45. What effect has violent force on the throat, and how is it to be ^rrected 1 I r li DRn.t BOOK. 46. Name the three leading forms of strean 47. Define each of them. in 48. State the kinds of compositions to which each of these forms of stress is most appropriate. 49. What stress is most appropriate for Paradise Lost and the Psalms? For light and gay com j^ositionsl For expres- sions of strong hatred 1 60. Name the derivative forms of stress, and state what com- positions they best suit. SECTION IV. 51. Explain grammatical and rhetorical pausea 62. What divisions of the sentence determine the place for the rhetorical pause 1 63 Wliat parts of speech require a pause before them ! 64. Select a sentence, and mark ofi" the pauses. 65. What caution is to be observed in attending to the rhetorical pauses ? 56. Define Infiection. 67. What is the difference between pitch and inflection 1 58. Give the general principles for rising and falling inflec- tions. 69. What inflection to an introductory dejiendent clause or phrase 1 60. What inflection for the nominative of address, for appeals and exclamations 1 6^. What inflection to ne£|ative sentenoes \ |ft DULL BOOI. 62. What exception to this rule % 63. What olass of questions takes a rising, and what olaas a falling inflection 1 64. What is the rule for inflecting appositives V 65. When have dependent phrases and clauses a faMinf. inflection 1 66. What forms of sentences take falling inflections t 67. In a series of independent clauses what are the inflections? 68. What is the rule for antithetical clauses or forms ? 69. Define Circumflex Inflections. 70. When are circumflex inflections appropriate t 7L What is the monotone, and when appropriate t 72. Select any passage, and mark it with all the proper inflec- tions. 73. Define Pitch — high, low, and middle — and distinguish it from Inaction. 74. In simple sentences, which parts receive the higher pitch 1 75. When do qualifying words require greater prominence 9 76. How are ex[>lanatory phrases and clauses delivered 1 77. What pitch is given to the predicate) 78. In complex sentences, what pitch is given to the principal, and what pitch to the subordinate clause 1 79. What subordinate sentence takes the samf lutch as the principal sentence, and why 1 80. How are parenthetical clauses rendered f OBILL BOOK. 173 81. Give examples of pitch in its application to the various forms of sentences, italicizing the sentences and parts which require a higher pitch. 82. State what kinds of composition require the low, the middle, and the high pitch ; select examples. 83. Define Movement. 84. How is movement adapted to the various classes of expres sions t 86. How can we read slowly 1 86. What consonants and vowels allow of prolonged time f 87. Name the defects of movement, 88. Explain Dr. Rush's method for acquiring facility of utter ance. 89. Give other modes of practice. 90. Define Emphasis. 91. Define the two forms of Emphasis. 92. What parts of speech take the Emphasis of Sense 1 93. Mark off the words in a passage demanding the emphasis of sense. 94. Define and explain the principle of Emphasis of Feeling. 95. Explain the qualities of voice required for emphasis o/ feeling. 96. Select a passage and mark off the words demanding enk phatU Oremmar is Just such a book as many teachers have been hoping to see introduced into our schools, its method being to teach the subject by explanation, definition and ab mdant illustrations without atereotyped rules thereby making the study even attractive. D. C. MaoHENRY, B.A., H. M. Cobourg Col. In'tltute. It is an excellent and reliable work. It will be well received by terchers and advanced pupils. JOHN JOHNSTON, P. S. I.. Belleville and South Hastings. Of all the grammars that I have seen, I consider Mason's the best. J. MORRISON, M.A., M.D., Head Master, High School, Newmarket. I have ordered it to be used in this school. I consider it by far the best English grammar for high school purposes that has yet appeared. With ** MiMn " and " Flemfiur " notbinv more seems to be deairfs*!. gUtiln ^ do.'B Cbiioitimial ^txitB. LANGUAGE LESSONS, R. I> V WSON, B A., T. C. D., Head Mwiter HIprh School, Beileviiia I have been very much pleased by the iiitrudnction of "Swinton'i Laiigtiacre Leason's." into the list of Canndinn School Books. It is ■Imple, comprehensive, and reliable ; and shows very clearly how easily the study of grammar may bo mode to go linnd in hand with the praotioe of Composition, the grmX end for which i; ranimar ought to be taught. We have at last an elementary text book which may be entrusted into the hands of the most iuexperienced teacher without any tear of it« being abused. JOHN JOHNSTON, P. S. I., South Hoslingn. I have oerefully examined " Swinton'H Lan;rua;j:e liCMSons," and am convinced from what I have seen of it, and from witut I li.ivu heard from •ome of my most experienced teachers, tluit it Ia by far the best Elementary text book on the subject that has yet been' placed within reach of our Canadian children. The simultaneous exercises in com- position are an adntir:ililo feature. I shall recommend the book for use in all the schools in my district. J. M. PLATT, M.D.. P. 8. Inspector, Pictoti. I am greatly pleased with this little work. Our bust and most ex- perienced teachers tench grammar to junior classes unilly, siter the same fashion. Younv and inexperienced teachers can do as well with "lAqguagu Lessons as the oldest and best can do without it. For puidla Just enturin^' u|K>n this important branch, this little book in question baa no superior in the market. W. S. CLENDBNINO, Inspector East Bruce, Walkerton. • * * With its valuable aid the teacher will And it no difficult task to make the study of lan^uoi^e a{frcoal)lo to even Junior pupils. I esteem it so highly that I will use my influence lu get it into the hands of every tc.icher in my district, and, if authorized, into every school Vkewisa. ROb.iRT MATHESON, M.A., H. M. High School, Walkerton. * * * Language Lessons will assuredly prove a boon to teach- ers of cinniosition. 1 find that for teaching English Grammar it is superior tin- for . ex- the iirith For k ill cult I. I mils lool icli- it in ical lior bly