J/^ >/^^/ ^^t ^^7^ HAMULUS SCIENCE OF ELOCUTION. Bhrom Rev. O. N. Hartshorn, LL.D., President of Mount Union College. Feeling a deep interest in the important subject of Elocution, and being personally acquainted with Professor S. S. Hamill, a scholar and gentleman of high standing, I take the liberty to introduce him to the favorable consideration of all persons interested in this too much neglect- ed branch of education. Mr. Hamill is the most accomplished, thorough, and systematic teacher of Elocution that I have ever met. He has taught some five classes, composed of students and professors of Mount Union College, with satisfactory results. I attended three of these classes with great profit and pleasure to myself. While Mr. Hamill has been here he has arranged a simple diagram, which, in my judg- ment, gives in one view to the eye an accurate and comprehensive outline of each style of utterance. I have examined it carefully, and think it highly adapted in its plan and execution to illustrate, when explained by him, that most difficult and important, but too much neglected, department of education, the various qualities, forms, stress, pitch, and movement of voice, to be exemplified in the utterance of each style of sentiment. O. N. Hartshorn. Sept. 9, 1861. From Rev. D. A. Wallace, D.D., LL.D., President of Monmouth Col- lege, Monmouth, III. I have known Professor S. S. Hamill as an instructor in Elocution for nearly fifteen years. He has conducted many classes in Monmouth College with unusual success. From my knowledge of his manu- script, his system of Elocution and methods of instruction, I expect that his book will at once take a very prominent place among text- books in Elocution. I shall not be surprised to learn that it has su- perseded all others. David A. Wallace. From Rev, H. P. Tappan, D.*D., LL.D., Chancellor of Michigan It affords me much pleasure to commend Mr. S. 8. Hamill to Col- leges and Schools as a teacher of Elocution. Mr. Hamill is himself an excellent elocutionist, but this would be of small account if he merely taught his pupils to imitate his own manner and tones. His worth as an instructor in this very important, but too much neglected, branch 2 HAMILL'S SCIENCE OF ELOCUTION. consists in the nculcation of correct principles of Elocution, and in Bubjecting Ms pupils to a proper drill of the voice. His aim is to cor- rect bad habits of pronunciation and intonation, and to bring out the natural power and compass of the human voice. He is, besides, very faithful and diligent, and spares no pains to accomplish his object. Mr. Hamill succeeds also in winning the esteem and respect of his pupils hj his gentlemanly bearing. He has formed voluntary classe* in this institution for two successive seasons, and has given great sat- isfaction. Henry P. Tappan. Dec. 7, 1S60. From Andrew D. White, LL.D., President of Cornell University, late Frofessor of History and English Literature^ Michigan University. University of Michigan, Ann Arbor, Oct. 8, 1860. Mr. S. S. Hamill has tauuht large "Elocution classes in this institution, and has given perfect satisfaction. His exercises for developing the voice, and inculcating its right tone, cannot, I think, be surpassed. A. D. White. From William Russell, Professor of Elocution^ Lancaster^ Mass.^ author of Vocal Culture^ Pulpit Elocution^ eto,^ etc. Professor Hamill — Dear Sir : Your favor of the ninth gave me the rare pleasure of perceiving that Dr. Rush's Philosophy of the Voice, as exemplified in my manual of Orthophony, (or Vocal Culture,) has led an intelligent and accomplished teacher of Elocution to prose- cute for himself the analysis of vocal expression into its interesting and instructive details. The closeness of your investigations must have oeen a source of great pleasure, as well as conscious intellectual disci- pline, to yourself, and I have no doubt that it will greatly enhance the benefit of your instructions to others. . . . Let me assure you that the ingenuity and thoroughness of your scheme gives me peculiar pleasure, from the attempt to give philosophical completeness to a tabular view of the phenomena of vocal expression. Dr. Rush's exhaustive analy- sis of the facts of the human voice has rendered it practicable aud easy for teachers who are so disposed to be philosophically comprehensive, as well as scientifically exact, in their plan and method of instruction in this wide field of useful and interesting knowledge. All we have to do is to follow in detail and exemplification his five primary principlefl of Force, Pitch, Time, Quality, and Stress. Cordially yours, William Russell. Fixmi Datus C. Brooks, Adjunct Professor of Rhetoric and EnglUh Literature. University of Michigan. Mr. S. S. Hamill ha^ c^i^ring the past year given lessons in Elocution in this University, \\\i\i the consent and warm approbation of the faculty. The members of the faculty interested particularly in this object, and myself among the number, have been desirous of securing HAMILL'S SCIENCE OF ELOCUTION. 8 Mr. Hamill's services permanently here, but on account of greatly in- creased expenses in other directions that has been impossible. The exercises have therefore been voluntary on the part of the students. Large classes have been formed, cojnposed of students and profes- sional men in the city, and the best satisfaction has been expressed by all. I have both attended Lis classes as an observer and been myself under his instruction. Speaking, therefore, on positive grounds, I should say that among his most useful qualities as a teaclier are untir- ing patience and energy, readiness and discrimination in criticism, and that knowledge of theory and practical skill combined, which ren- der one capable both of giving specific directions and of furnishing correct models for the student to follow. We have had other teachers of Elocution in this University, but none so successful in his instruc- tions. Regretting that we cannot retain Mr. Hamill permanently here, he has my most cordial commendation and warmest wishes for his success in the chosen profession of his life. Datus C. Brooks. Dec, 18, 1860. From Alexander Campbell, President of JBethariy College^ Va. Haying recently had the pleasure of hearing the distinguished Elo- cationist, Mr. S. S. Hamill, deliver himself on the science and the art of Elocution, in doing which he so scientifically and also artistically exhibited the orator in utterance and in action, I cannot but recom- mend him to all those youth who desire to acquire either the theory or the practice of this most interesting and useful science and art. April 10, 1801. A. Campbell. Fr(ym W. K. Pendleton, Vice-Pt^esident of Bethany College. To all who are interested in the attractive art of Elocution we take pleasure in tendering a very cordial introduction of Mr. Hamill. He has made Elocution his special profession, and besides his own very high attainments in its practice, is eminently gifted as a teacher of it to others. He has given instruction to a number of voluntary classes in Bethany College, and with the most marked success. His gentle- manly bearing, his accomplished mastery over his subject, his great fidelity and energy as a teacher, and, withal, his genuine enthusiasm in the noble art of Elocution, make Mr. Hamill a welcome instructor to all who take his lessons. His method is strictly scientific, and as a teacher he labors to point out and exemplify the principles and exercises by which excellence in oratorical utterance not only may^ but must be reached. "We trust that Mr. Hamill will be encouraged and sustained in his generous efforts to elevate the tone of our Elocution, and that in his hands this much neglected and sometimes despised element of a polished education may be invested with new interest, and raised to a noble place in the courses of our colleges. W. K. Pendletos April 18, 18G1. 4 HAMILL'S science of ELOCUTIOlSr. From J, Baldwin, A.M., President of North Missouri State Norma , School. Professor S. S. Hamill, one of the ablest teachers of Elocution now living, has been secured to give a course of twenty lessons in this im- portant branch. From the PROrESSORS and Students of Washington College, Pa. Professor Hamill discusses the subject in a manner highly scientific ; his course of lessons is systematically arranged, and eminently com- prehensive ; and we consider his admirable system of gesticulation invaluable to all who would cultivate a graceful and impressive delivery. Professors and Students of Washington College. Sept. 1, 1861. From the Bloomington Daily Pantagraph, Jan. 12, 1871. Professor Hamill has but one rival in the country, James E. Mur- doch. From the Pittsburgh Daily Gazette. Professor Hamill is one of the most accomplished readers of our country. From the Ohio Educational Journal. As a teacher of Elocution, Professor Hamill has no superior in the United States. From the Mount Pleasant Journal^ Oct. 15, 1869. An audience was never better entertained than the one which assembled in Saunder's Hall on Thursday evening last to hear the dis- tinguished Elocutionist, S. S. Hamill. His readings and recitations far surpass any thing we ever heard. From the Iowa City RepuhUcan. Professor Hamill is master of his profession, and will interest, in- Btruct, and amuse his audience. From the Spirit of the West. The exercises in Elocution at the Teachers' Institute of Monroe county were conducted by Professor S. S. Hamill, of Hlinois Wesleyan University, one of the finest teachers of Elocution in the United States. His lectures do not for a moment fail to interest, being pointed, logical, practical, and so varied that the most idle spectator cannot even for a moment forget his presence* * From the Daily Leader^ Jan. 13, 1871. Professor Hamill is a very superior actor. We have seen but few better; and we are glad to know that the University is so fortunate as to have the services of one in every way so capable. Thousands of Testimonials might be added to the above. THIfi SCIENCE OF ELOCUTION EXERCISES AND SELECTIONS SYSTEMATICALLY ARRANGED FOR ACQUIRING By S. S. HAMILL, A.M., CHiOACSO, ILL.. •^TE PROFKSSHR OF RHETORIC, PJNGI.ISH LITERATURE, AND ELOCUTION, ILLINOIS WESLEYAN UNIVERSITY, BLOOMINGTQN, ILL., STATE UNIVERSITY, COLUMBIA, MO. NEW YORK: PHILLIPS & HUNT. CINCINNATI : ^A^AL,DEN & STOWE, 1881. Entered according to Act of Congress, in the year 1872, by NELSON & PHILLIPS, in the Ojfice of the Librarian of Congress at Washington. EOUCATIOM DPPT. P H E F A C E. In lb^> belief that Elocution should be studied as a scionco a-s well as practiced as an art, the following pages are presented to the public. The r^esign of the work is to unfold the principles of Elocunon, to show their application to the different forms of thought and emotion, to classify selections under their appropriate styled, and, in connection there- with, to furnish sufficient exercises for the cultivation of the articulation, the tones of the voice, and the graces of manner. That Elocution is a science, that there are certain established principles observed by all good speakers and violated by all bad ones, none will deny who have care^ fully investigated the subject. To understand and to practically illustrate these principles should be the prominent object of the student of Elocution. Without this all cultivation of the voice and manner will be of little avail. Instances are numerous of stu- dents who have carefully and diligently practiced the exercises for the cultivation of the voice and manner, so abundant in the various works on Elocution, and have derived therefrom all the advantages they propose, and fet good readers and speakers are very rare. 541^03 ;0r .','■; ; ; /. '. PREFACE. A radical defect exists somewhere, or, contrary to all experience and testimony, the ability to read and speak well is not an acquirement. An experience of nearly twenty years as a teacher in this department has con- vinced the author that the study cf Elocution usually ceases where it really should begin, namely with the adaptation of the tones of the voice and the expression of countenance to the sentiment uttered. To correct in some degree this defect, and to awaken a deeper interest in the subject of Elocution^ is the hope of the author in the present publication. When Elocution shall be studied in our colleges and universities as a science, its principles known and prac- ticed, then, and not till then, will good speaking be the rule, and not, as now, the rare exception. S, S. BL '710 West Monroe-st., Chicago, 111. CONTENTS. Pagi BLOCtrriON 19 Tabular 7iew oi the Science op Elocution 20 PAKT I. EXPRESSION. CHAPTER I. ABTICULATION. Chart op Elementary Sounds 22 Position op Body 23 Suggestions 23 Exercises in Long Yocals 24 " Short Yocals 27 '* Diphthongs 30 " SUB-YOCALS 31 " Aspirates 37 " Difficult Combinations 41 CHAPTER n. besfibatiok. Exercises in Breathing 48 " Effusive Yocal Breathing 49 ** Expulsive Yocal Breathing 49 ** Explosive Yocal Breathing 49 CHAPTER m. VOICE. Attributes op Yoioh 60 Form op Yoice 51 Effusive Form 61 Exercises in Effusive Form 52 Application of Effusive Form 52 10 CONTENTS. Pagb Illustrations op Effusive Form 53 Advantages of Effusive Form 53 Expulsive Form 54 Exercises in Expulsive Form 54 Application of the Expulsive 54 Illustrations of Expulsive Form 55 Advantages of Expulsive Form b*l Explosive Form b1 Exercises in Explosive Form 58 Application of Explosive Form 58 Examples of Explosive Form 59 Advantages of Explosive Form 59 Quality of Voice 60 Pure Tone 61 Exercises in Pure Tone, Effusive Form 62 Application of Pure Tone, Effusive Form 62 Examples of Pure Tone, Effusive Form 62 Exercises in Pure Tone, Expulsive Form 63 Application of Pure Tone, Expulsive Form 64 Examples of Pure Tone, Expulsive Form 64 Exercises in Pure Tone, Explosive Form 65 Application of Pure Tone, Explosive Form 65 Advantages of Pure Tone 66 Orotund 66 Exercises in Orotund, Effusive Form 61 Application of Orotund, Effusive Form 68 Examples of Orotund, Effusive Form 68 Exercises in Orotund, Expulsive Form 69 Application of Orotund, Expulsive Form 69 Examples of Orotund, Expulsive Form 69 Exercises in Orotund, Explosive Form '71 Application of Orotund, Explosive Form '72 Examples of Orotund, Explosive Form '72 Advantages of Orotund '73 Aspirate '74 Exercises in Aspirate, Effusive Form "74 Application of Aspirate, Effusive Form '75 Examples of Aspirate, Effusive Form "75 Exercises in Aspirate, Expulsive Form "76 Application of Aspirate, Expulsive Form '76 Examples of Aspirate, Expulsive Form *i1 Exercises in Aspirate, Explosive Form '78 Application of Aspirate, Explosive Form - . TS Examples of Aspirate, Explosive Form 18 Advantages of Aspirate 18 Pectoral "79 Exercises in Pectoral, Effusive Form "79 Application of Pectoral, Effusive Form "79 Examples of Pectoral, Effusive Form '79 Exercises in Pectoral, Expulsive Form 8] CONTENTS. 11 Pagb i*.ppLiOAiiON OP Pectoral, Expulsive Poem . . . . , 81 Examples of Pectoral, Expulsive Form 81 Exercises in Pectoral^ Explosive Form 83 Application of Pectoral, Explosive Form . . 83 Examples of Pectoral, Explosive Form 83 Advantages of Pectoral 84 Guttural 84 Exercises in Guttural, Effusive Form 84 Application of Guttural, Effusive Form 85 Examples of Guttural, Effusive Form 85 Exercises in Guttural, Expulsive Form 85 Application of Guttural, Expulsive Form 85 Examples of Guttural, Expulsive Form 86 Application of Guttural, Explosive Form 86 Examples of Guttural, Explosive Form 86 Advantages of Guttural 86 Oral 81 Application of Oral 87 Examples of Oral 87 Advantages of Oral 88 Nasal 88 Force 89 Divisions of Force 90 Exercises in Force 90 Subdued Force — Application of 91 Examples of Subdued FoRCe 91 Moderate Force — Application of 92 Examples of Moderate Force 92 Energetic Force — Application op 95 Examples of Energetic Force 95 Impassioned Force — Application of 97 Examples of Impassioned Force 97 a.dvantages of force 99 Stress 99 Eadical Stress 100 Exercises in Radical Stress 100 Application of Radical Stress 100 Examples of Radical Stress 101 Advantages of Radical Stress. ; 102 Median Stress 103 Exercises in Median Stress 103 Application of Median Stress 103 Examples in Median Stress , 104 Advantages of Median Stress c . 106 Final Stress 106 Exercise in Final Stress 106 Application of Final Stress 106 Examples in Final Stress 107 Advantages of Final Stress 108 Compound Stress 109 12 CONTENTS* Pagb Exercises in Compound Stress 109 Application of Compound Stress 109 Examples in Compound Stress. ... * 110 Advantages op Compound Stress 110 THOROuan Stress 110 Exercises in Thorough Stress '. . Ill Application op Thorough Stress HI Examples op Thorough Stress Ill Advantages of Thorough Stress 112 Intermittent Stress 113 Exercises in Intermittent Stress ] 13 Application of Intermittent Stress 113 Examples in Intermittent Stress 114 Advantages of Intermittent Stress 114 Pitch 115 Divisions of Pitch 116 Exercises in Pitch 117 Middle Pitch — Application of 118 Examples of Middle Pitch 118 Low Pitch — Application of 120 Examples of Low Pitch 120 High Pitch — Application op 121 Examples of High Pitch 121 Very Low Pitch — Application of 123 Examples of Very Low Pitch 123 Very High Pitch — Application op ^25 Examples of Very High Pitch 125 Advantages of Pitch 126 Movement 127 Divisions of Movement 127 Exercises in Movement 127 Moderate Movement — Application op 128 Examples of Moderate Movement 128 Slow Movement — Application op 130 Examples of Slow Movement 130 Yery Slow Movement — Application op 131 Examples op Very Slow Movement 132 Raped Movement — Application of 133 Examples in Rapid Movement. 1 133 Very Rapid Movement — Application op 134 Examples in Very Rapid Movement 135 Advantages of Movement , 136 Accidents op Voice 138 Quantity 138 Long Quantity 139 Exercises in Long Quantity 139 Application of Long Quantity 139 Examples op Long Quantity 139 Short Quantity 141 Exercises in Short Quantity 141 CONTENTS. 18 PAGK Application of Short Quantity 141 Examples op Short Quantity 141 Advantages of Quantity 142 Inflections , . 144 Rising Inflection . 1 44 Exercises in Rising Inflection 144 Application of Eising Inflection of Second ^ . . 145 Examples of Rising Inflection of Second 145 Application of Rising Inflections of Third and Fifth 145 Examples of Rising Inflections of Third and Fifth 145 Application of Rising Inflection op Octave 147 Examples of Rising Inflection of Octave 147 Falling Inflection 147 Exercises in Falling Inflection 148 Application of Falling Inflection 148 Examples of Falling Inflections of Second and Third 148 Examples of Falling Inflections of Third and Fifth 149 Examples of Falling Inflections of Third, Fifth and Octave 149 Advantages of Inflection 151 Circumflex 151 Application of Circumflex 152 Examples of Circumflex , 152 Advantages of Circumflex 152 Cadence 152 Examples in Cadence 153 Advantages of Cadence 153 Pauses 1 54 Application of Pauses 1 54 Examples of Pauses 154 Emphasis — Kinds op 157 Emphasis of Force 158 Examples of Emphasis op Force 159 Emphasis of Stress 159 Examples of Emphasis of Radical Stress 159 Examples of Emphasis of Median Stress 159 Examples of Emphasis of Final Stress 160 Examples of Emphasis of Compound Stress 160 Examples of Emphasis of Thorough Stress 160 Emphasis -OF Quality 161 Example of Emphasis of Aspirate Quality 161 Example of Emphasis of Pectoral Quality 161 Example of Emphasis of Guttural Quality 161 Emphasis of Pitch 162 Examples of Very High Pitch , 162 Examples of Very Low Pitch 162 Emphasis of Movement 165 Examples of Emphasis of Slow Movement 165 Examples of Emphasis of Rapid Movement 165 Advantages of Movement 165 Climax 167 14 CONTENTS. Paqb Examples of Climax 167 Grouping — Advantages of 170 Illustrations of Grouping 170 CHAPTER IV. ACTION. Positions of Feet 177 Changes in Position of Feet 180 Position of Body 180 Position of Arms in Repose 1 80 Position of Arms in Gesture 181 The Hand 182 Positions of Hand 182 Accompaniments of Gesture 183 Qualities of Gesture 185 Adaptation of Gesture 187 Significant Gestures 188 The Eye and Countenance 189 The Passions 191 Picture of the Passions 193 PAET II. DEDUCTIONS. CHAPTER I. STYLES. Diagram of Styles 210 Explanation 211 CHAPTER n. PATHETIC STYLE. Death- Bed. — Thomas Hood. 212 The Pauper's Death-Bed. — 3Irs. Southey 212 My Mother's Bible. — G. P. Morris 213 The Old Arm-Chair. — Eliza Cook 214 The Burial of Arnold. — N. P. Willis 215 The Last Footfall 217 Anabel Lee. — Edgar A. Poe 218 The Bridge of Sighs. — Thomas Hood 219 The Grave of the Beloved. — Washington Irving 22 i CONTENTS. 15 CHAPTER III. SERIOUS STYLE. Pagb NiCARER Home. — Phele Cary 224 Th e Heavenly Canaan. — Watts 225 In the Other "World. — Mrs. H, Beecher Stowe 225 If We Kneivt 227 Forty Tears Ago 228 The Mountains op Life. — J. G. Clark 230 The Isle of Long Ago. — B. F. Taylor 231 God the True Source of Consolation. — Moore 232 G-ratitude. — Addison 232 Over the River. — Miss Priest 233 CHAPTER IV. TRANQUIL STYLE. R.AIN ON THE Roof. — Coates Kinney 235 Night.— >SfAeZ/e?/ 236 The Light-House. — Moore 236 Musings. — Amelia 237 The Rainbow. — Amelia 239 CHAPTER V. GRAVE STYLE. Inspiration of the Bible. — Winthrop 241 Goodness of God 242 Access to God. — James Eamilton 242 Infidelity Tested 243 Religion the Only Basis of Society. — W. E. Ghanning 244 Promises of Religion to the Young. — Alison 245 CHAPTER VI. DIDACTIC STYLE. Cheerfulness 247 Be Comprehensive 248 Hamlet's Advice. — ShaJcspeare. 249 Industry and Eloquence. — Wirt, 249 No Excellence Without Labor. — Wirt 251 Advice to Young Lawyers. — Judge Story 252 Modulation. — Lloyd. 253 Don't Run in Debt. — Eliza Cook 254 Queries 255 16 CONTENTS. CHAPTER Vn, LIVBLYBTYLB. PA€>H Personalities and Uses of a Laugh 257 Paddle Your Own Canoe. — Mrs. Sarah T. Bolton 258 I'm With You Once Again. — G. P. Morris 260 A Psalm of Life. — LongfeUow 260 CHAPTER Vm. GAYSTYLB. Spring. — Bryant. 262 Young Lochinvar. — Scott. 262 Let Us Try to be Happy * 264 Coquette Punished 264 Rhyme of the Rail. — Saxe 266 CHAPTER rX. JOYOUS STYLE. GuNEOPATHY. — Saxe 269 Mercutio's Humorous Description of Queen Mas. — Shakspeare 270 CHAPTER X. SUBLIMESTYLB. In Memoriam — A. Lincoln. — Mrs. Bughee 272 Break 1 Break ! Break 1 — Tennyson 273 God. — Derzhavin 274 God's First Temples. — Bryant 277 The Closing Year. — Prentice 280 Morning Hymn to Mont Blanc. — Coleridge 282 CHAPTER XI. ORATORICAL STYLE. Reply to Mr. Wickham in Burr's Trlil, 1807. — Wirt 285 Aristocracy. — Rohert R. Livingston 286 General Government and the Statjss. — Alexander Hamilton, . 287 Patriotic Self-Sacrifice. — Giay 288 Ambition of a Statesman. — Clay 289 Nationai Character. — Maxey 290 Responsibilities of our Republic. — Joseph Story 291 Duty of Literary Men to their Country. — Grimke 291 American Laborers. — Naylor 29.3 Napoleon Bonaparte. — Phillips. 294 CONTENTS. 17 Paqb Unjust National Acquisition. — Thomas Corwin 296 Our System of Public Instruction should Distinctly Incul- cate A Love of Country.— iVet(;fo7z Bateman 297 Appeal in Behalf of Ireland. — S. S. Prentiss 299 Glorious New England. — S, S. Prentiss 301 Speech Before the Yirginia Convention of Delegates, March, 1775. — Patrick Henry 302 Supposed Speech of James Otis. — Mrs. L. M. Child 304 RiENzi's Address to the Romans. — Miss Miiford 306 CHAPTER XIL OBATORICAL SUBLIME. Death of John Quincy Adams. — L. E. Holmes «... 308 Death of Alexander Hamilton.— i)/*. Noit 309 CHAPTER Xni. IMPASSIONED POETIC STYLE. Hate of the Bowl 311 The American Flag. — J". R. Drake 312 The Rescue of Chicago. — H M. Look 314 Sheridan's Ride. — T. Buchanan Read. 316 CHAPTER XTV. SHOUTING STYLE. The Charge of the Light Brigade. — Tennyson 318 Bugle Song. — Tennyson 320 From Marmion and Douglas. — Scott 320 From Marco Bozzaris. — Halleck 321 Tell's Address to the Alps. — J. S. Knowles 321 CHAPTER XV. VEHEMENT STYLE. Cataline^s Defiance.— CroZy 322 The Seminole's Defiance.— G. W. Patten 323 Spartacus to the GtLADIAtors at Capua. — E. Kellogg, 324 CHAPTER XVI. DRAMATIC STYLE. From on Board the Cumberland, March 7, 1862. — George H, Boker 327 Abou Ben-Adhbm. — Leigh Himt 328 2 18 CONTENTS. Tabm The Sexton. — Park Benjamin 329 Curfew Must not Ring To-night. — Eosa A. Hartwick 329 John Burns op Gettysburg. — F. Bret Harte 331 Poor Little Jim 334 Gambler's Wife. — Coaiea \ 335 The Beautiful Snow.— Jarne^ W. Watson 336 Maud Muller. — J. G. WhUtier 338 Creeds of the Bells. — Bungay 342 Irish Woman's Letter 344 On the Shores of Tennessee 345 The Vagabonds. — Trowlridge 347 On Board the Cumberland. — Boker 350 The Bi&LL^.— Edgar A. Foe 354 Charlie Machree. — William J. Hopper 357 The Rising, 1776.-71 Buchanan Read 358 The Polish Boy. — Mrs. Ann S. Stephens 360 Count Candespina's Standard. — Boker 364 The Baron's Last Banquet. — A. G, Green 367 Bernardo Del Carpo. — Mrs. Hemans. 369 The Raven. — Edgar A. Foe 371 Scene from Hamlet 375 HUMOROUS STYLE. Evening at the Farm.— */: T. Trmjohridge 378 Idyl of the Period. — Baker 379 Pyramus and Thisbe. — Saxe 381 Mb. Pickwick's Proposal to Mrs. Bardell. — Dickem 384 Our Guides in Genoa. — Mark Twam 387 THE SCIENCE OF ELOCUTION. . ELOCUTION. Elocution is the Science and Art of expressing thought and feeling by utterance and action. As a science, it unfolds the principles of reading and speaking ; as an art, it embodies in delivery every accom- plishment, both of voice and action, necessary to appro- priate expression. The requisites of a good elocution are, First, Distinct articulation ; Second, Full and free respiration ; Third, Perfect control of a clear, full, round, musical tone of voice ; Fourth, Graceful and expressive action ; Fifth, Cultivated taste and judgment. 20 SCIENCE OF ELOCUTION. TABULAR VIEW OF THE SCIENCE OF ELOCUTION. 1. EXPEES- SION 2. DEDUC- TIONS.. 1. Articu- lation".. 2. Kebpiea- TION 3. Voice. ' Vocals. Sub -Vocals. Aspirates. ' Effusive. Expulsive. Explosive. 1. Attributes. - 4. Action. Pathetic. Serious. Tranquil. Grave. Didactic. Lively. Gay. Joyous. Sublime. Oratorical. Impassioned Shouting. Vehement. Movement. Quantity. . Inflections. Waves .... Cadence. . . Pauses.... Emphasis. Climax. ^Grouping, Lower Limbs and Hody, Arms and Hands. Face. 2. Accidents.' Form Quality . . . Force Stress. . Pitch . Effusive. Expulsive. . Explosive. '' Pure Tone. Orotund. Aspirate. PectDraU Guttural. , Oral. Subdued. Moderate. Energetic. Impassioned Radical. Median. Final. Compound. Thorough. Intermittent Very High. High. Middle. Low. Very Low. Very Rapid. Rapid. Moderate. Slow. Very Slow. Long. Short, Upward. Downward. Upward. Downward, Complete. Partial. Long. Short. ' Force. Stress. Quality I Pitch. Poetic. PAET 1 EXPRESSION. The term expression includes all that part of Elocu- tion which relates to articulation, respiration, vocaliza- tion, and action. » CHAPTER I. ARTICULATION. Articulation is the utterance of the elementary sounds of a language by the appropriate movements of the. organs of speech. A ready and distinct articulation is an indispensable requisite to good reading. Owing to bad habits acquired in early youth, and to defective systems of instruction, but few persons pos- sess this invaluable accomplishment. Frequent and careful practice on the elementary sounds will in almost every case correct defects, and impart a ready and distinct articulation. SECTION I. ELEMENTARY SOUNDS. An elementary sound is a sound produced by a single impulse of the organs of speech. Phonologists pretty generally agree that there are forty-four elementary sounds in the English language. 22' aOIjE^OE OF ELOCUTION. These sounds are represented by letters and characters. The sounds are divided into vocals, sub-vocals, ai>.l aspirates ; the letters into vowels and consonants. CHART OP THE ELEMENTARY SOUNDS. Long Yooals. 1. e, as in me, eve. serge, verge, aim, ale. air, care, arm, farm, or, for. oak, no. ooze, do. Diphthongs. 16. I, as in ice, lie. 18. % as in mute, tube. 17. oi, '* oil, boil. 19. ou, *' out, sound- SuB-YocALS. — Correlatives, 20. b, as in boy, ebb. 2. 5, (C 3. a, (( 4. &, tt 5. a, ti 6, 6. C( 1. 0, (C 8. e, cc Short ' Vocals. 9. 1, as in ill, it. 10. g, " ell, let. 11. 6, « odd, not. 12. ii, *' up, sup. 13. a, « add, sad. 14. a, « ask, task. 15. u, " full, pulL 21. d, (C did, rod. 22. g, C( go, rag. 23. S, cc gem, judge. 24. V, ii veer, valve. 25. th, ii this, breathe. 26. z, ii zone, zeal. 27. zh, ii azure, seizure, SuB-YocALS. — Liquids. 28. 1, as in lo, will. 29. r, " row, roar. 30. m, " moon, home. 31. n, " no, moon. 32. ng, '' sing, ring. ELEMENTARY SOUNDS. 23 SuB-YocALS. — Coalescmts. 33. w, as in we, wit. 34. y, " yet, you. Aspirates. — Explodents. 35. p, as in pin, pipe. 36. t, " till, spot. 37. k, " kick, neck. 38. ch, " church, which. Aspirates. — Continuants, 39. f, as in fife, stifi*. 40. th, " think, breath. 41. s, " see, pass. 42. sh, " shine, wish. 43. h, " he, hat. 44. wh, " whence, what. SECTION n. EXERCISES IN ARTICULATION. The following exercises are designed for the cultiva- tion of a distinct and accurate articulation. Syllabica- tion, accent, and pronunciation, though all important in reading and speaking, do not properly belong to a work on Elocution. They can only be thoroughly learned from the unabridged dictionaries. Position of the Body. The pupil should be careful, when practicing the fol- lowing exercises, to maintain an erect position of the body, keep the head up,, the chest expanded, and the shoulders well back. Suggestions. These exercises are not designed merely for those whose articulation is defective. Persons who speak 24 SCIENCE OF ELOCUTION. with even more than ordinary accuracy will be greatly benefited by frequent practice on the elementary sounds. That the highest advantage may be derived from this practice let there be no feeble work. Repeat each exercise with energy, clearness, and precision. Before uttering any word or sentence repeat a num* ber of times the element for the cultivation of which the exercise is specially designed. In pronouncing the long vocals, which admit of in- definite prolongation, be careful not to drawl them. Exercises on the elementary sounds are now so gen- erally practiced in the primary schools and at colleges, and the positions and actions of the organs in the pro- duction of these sounds so accurately taught, that a detailed discussion of them here is deemed unnecessary. Exercises on the Long Vocals. I. e, as in me. he, the, meed, heed, breathe, these, 1. I believe it every word. 2. I mean what I say. 3. Seems, madam ! nay, it is. 4. Tell them we need no change. 5. Be not overcome by evil. 6. Heat me these irons hot. 7. I must be brief. 8. We must believe to be saVed. II. e, as in earth. earth, ermine, verge, prefer, mirth, serge. be. eve, need. seed, please. least. ARTICULATION. 25 1. The unsullied sanctity of your ermine. 2. I prefer not to do it. 3. He is on the verge of ruin. 4. Crown him with myrtle. 6. I am in earnest. m. a, as in aim. aim, ale, pay, may, age, pale, lame, slay, pray, day, clay, vain. 1. If we fail we can do no worse. 2. He is a saint. 3. He may pray, but it will be all in vain. 4. They say that we will fail. 5. May we pay our way ? 6. He is afraid of me. 7. Nay, after that, consume away in rust. 8. Away ! away ! let me not see thy face. IV. k, as in air. their, lair, dare, hair, chair, prepare, prayer, despair. 1. The air is very cool. 2. Dare to do right. 3. Swear by my sword. 4. Air, earth, and sea, resound his praise. * 5. Come, boy, prepare yourself. 6. Where shall the lover rest ? Y. There through the summer day. 8. Scarce are boughs waving. V a, as in arm. arm, harm, charm, farm, qualm, calm, balm, alarm, palm, psalm, ma'am, father. nor, fall. all, tall. small, pall. 26 SCIENCE OF ELOCUTION. L To arms ! to arms ! they cry. 2. The night was calm and beautiful. 3. Hast thou a charm to stay the morning star ? 4. I will not harm thee, boy. 5. The psalm was warrior David's song. 6. The balmy breath of incense-breathing mom. 7. A qualm of conscience brings me back again. 8. Father, thy hand hath reared this venerable column, VI. 6, as in or. or, for, north, war, law, corn, 1. My voice is still for war. 2. The law must be obeyed. 3. The cause stands not on eloquence, but stands on laws. 4. All that I am, all that I hope in this life, I am now ready to stake on it. 5. The north is wild with alarms. 6. I come not here to talk. 7. His tall form taller seemed, 8. The pall was settled. Vn. 6, as in no. no, go, lo, woe, home, old, bold, glorious, sold, enrolled, fold, gold. 1. Paid my price in paltry gold. 2. No, no, gentlemen, gold cannot purchase it. 3. They have enrolled us. 4. Thou glorious mirror. 5. Fold her hands lightly. 6. Home, thy joys are passing lovely. ARTICULATION. 27 7. Woe, unto thee, Chorazin ! 8. The bold, brave boy of GlingaL Vin. Q, as in ooze. who, ooze, fool, stool, moon, room, boon, soon, loom, doom, noon, choose. 1. Thy doom is fixed. 2. The fool hath said, No God. 3. There is no longer any room for hope. 4. The moon's pale light. 6. Soon we shall join the kindred dead. 6. The blood oozed from his ghastly wound. 7. Who dare assert it ? 8. You denied me this. Exercises on Short Vocals. IX. 1, as in ill. ill, it, will. fill. in, rip, inch. ink, rid, pith, risk, tilL 1. I will never submit. 2. Rid me of these vagabonds. 3. It is I ; be not afraid. 4. Inch by inch we will dispute the ground. 6. I'll risk my life upon it. 6. Ill-mannered wretch. 7. If I can catch him once upon the hip. 8. Three millions of people armed in the holy cause Ol liberty. X. S, as in ell. ell, let, end. deck, neck, wreck, pet. send. men, pest, jet. death* 28 SCIENCE OF ELOCUTION. 1. The end of all things is at hand. 2. Let come what may. 3. The people are in debt. 4. Men, men, for shame, thus to yield. 5. I would never lay down my arms, never, never. 6. This in a moment brings me to my end. 7. But this informs me I shall never die. 8 Up to the spar deck ! XI. 5, as in odd. odd, not, on, stop, cot, rob, rock, rod, got, nod, sod, rot. 1. And the rock shall rear its head. 2. Stop ! for thy tread is on an empire's dust. 3. Odd ! 'tis very odd indeed. 4. Let the carrion rot. 5. Unconsciously he executes the will of God. 6. His lot is a hard one. Y. This rock shall fly from its firm base as soon as L 8. On, on, you noble English. XIL ti, as in up. up, sup. cup. skull, but, us. hut. hub. hug, bud, run. gun. 1. Up, comrades, up ! 2. Give me rum ! O give me rum I 3. The cup is full of poison. 4. They sup full well. 5. Your apprehension must be dull. 6. That skull had a tongue in it once. 7. Don't give up the ship. 8. They tell us that we are weak. ARTICULATION". 29 Xm. a, as in add. add, sad, had, mat, bad, back, cat, rat, battle, scaffold, satisfy, that. 1. His countenance was sad. 2. The battle, sir, is not to the strong alone. 3. What will satisfy you ? 4. Back to thy punishment, false fugitive. 6. Add to your virtue, faith. 6. The scaffold has no terrors for me. 7. Let me die like a man. 8. That will be justice. XIV. a, as in ask. ask, task, flask, mask, fast, hasp, grant, branch. grass, pass, mass, clasp. 1. Pass the shadow but a hair. 2. Ask and you shall receive. 3. The grass grows green above her grave. 4. The task is done. 5. Fast hurrying through the outer door. 6. Grant me but an hour of life. 7. And clasping to his heart his boy, he fainted on the deck. 8. Fast bind, fast find. XV. u, as in full. fiill, pull, put, puss, push, bullet, bullion, fuller. 1. Full many a gem of richest ray serene. 2. Pull, pull for your lives. 3. The bullet passed near his face. 4. The fuller fulls his cloth. try, fie. kite, ripe, vise, isle 80 SCIENCE OF ELOCUTION. Exercises on Diphthongs. XVL I, as in ice. ice, lie, mile, figlit, spike, • bide, 1. A mile or two at most. 2. Let him bide his time. 3. My name, my fame, must be unsullied. 4. And give thee in thy teeth the lie. 5. His form is held as in a vise. 6. The vile wretch. 7. The isles of Greece, the isles of Greece. 8. I'll fight till from my bones my flesh be hacked. XVn. oi, or oy, as in oil. oil, boil, voice, toil, boisterous, noise, 1. My voice is still for war. 2. What noise is that I hear ? 3. Rejoice, ye men of Anglers. 4. The boisterous waves lashed the shore; 6. Let not the sacred soil be polluted. 6. The toil-worn traveler enters. Y. Joy, joy ! shout aloud for joy ! 8. The spoil shall be the victor's reward. XVrn. u, as in mute. tube, duke, beauty, amuse, subdue, fury, usage, use, value, statue, renew, few. 1. Few shall part where many meet. 2. The demand determines the value. 3. The curfew tolls. foil, soil, boy, joy, rejoice, turmoiL ARTICULATION. 81 4. He knew that it was wrong. 5. The general reviewed his army. 6. He was mute with astonishment. V. The statute forbids it. 8. Renew it o'er and o'er. XIX. ou, as in out. out, sound, hour, thou, plow, now, thousand, round, pound, bound, mount, fount. 1. Out, out, brief candle! 2. Put out the light, and then put out the light. 3. Now, by the gods above us, sires ! 4. A thousand at thy side shall fall. 6. A day, an hour, of virtuous liberty is worth a whole eternity of bondage. 6. Bound thy desires by thy means. '7. Thou hast destroyed us. 8. Sound, sound the alarm ! Exercises on Sub -Vocals. — Correlatives. XX. b, as in boy. bad, boon, bind, bend, brown, beck, beat, beg, orb, tube, curb, rub, dub, nib, mob, rob. 1. Bind beauteous boughs upon his brow. 2. Bend not before the beauteous vision. 3. Be brave, be bold, for good. 4. Brave boys of Bengal. 6. Basely they bound him to the beach. 6. The bards of the Bible. 7. Benjamin Brown bought the book. 8. He is a bold, brave, bad boy. dead, delve, deep, deed, sad, lad. bard, defend. 82 SCIENCE OF ELOCUTION. XXI. d, as in did. doom, duty, day, defy, add, mad, head, hard, 1. Dare to do right. 2. Down on thy knees, thy doom is sealed. 3. Deep calleth unto deep. 4. Do you dare defy my authority ? 5. Down the long dark line. 6. Despair not of success m the darkest day. 7. Did you say David is dead ? 8. Despise not the day of small things. XXIL g, as in go. give, gone, gad, grmd, grant, gasp, g^ad, g^^ilt, liag, rag, lag, log, tug, sag, fag, dog 1. Gold gave thee all thy grace. 2. Grasp the goal and gain the prize. 3. Grant ye, O grant ye this boon to me . 4. Gather graces from the groves. 6. Go, give thy gains away. 6. Gather not greedily the gold. 7. God grant thee grace. 8 . Glory gathers on his brow. XXIII. g, as in judge. gem, join, cage, jade, jam, jag, jeer, jar, jump, June, jolt, jovial 1. Join, all ye people, in his praise. 2. Gems of richest ray serene. ARTICULATION. 33 8. Justice should join with mercy. 4. Justly judge the cause. 5. Journeymen do not always deal justly. 6. Juno, the sister and wife of Jupiter. Y. Jocund John jokes jocosely. 8. Join the everlasting jubilee. XXIV. V, as in veer, vale, void, vary, vase, have, live, love, above, 1. Value virtue highly. 2. Vile villains vent their vengeance. 3. Valiant deeds deserve praise. 4. Vengeance belongeth to the Lord. 5. Verily, verily, I say unto you. 6. Vagabonds wander idly around. 7. Vain, vain are all thy efforts. 8. Various views are entertained. value vile, vent, valve, brave, save, give. behava XXV. th, as in this. this, their, them, then, thence, there, than, that, breathe, beneath, wreathe, weathe). 1. This is the place, the center of the grove. 2. Thou breathest, silent the submissive waves. 3. Beneath those ragged elms, that yew tree's shade, 4. Breathes there a man with soul so dead. 6. Wreathe flowers for the valiant dead. 6. That thou shouldst die. 7. The vessel weathered the storm. 8. There is now no longer any room for hope. 3 84 SCIENCE OF ELOCUTION. XXVI. z, as in zone, zone, zeal, zest, zebra, zero, zinc, zigzag, zenith, has, was, cause, rouse. 1. The zeal of thy house hath eaten me up. 2. He has reached the zenith of his glory. 3. Zeno was zealous in his work. 4. He has zeal without knowledge. 5. The cause will raise up men. 6. Rouse, ye Romans, rouse ! 7. The zephyr breathes calmly. 8. Zion, the joy of all the earth. XXVII. zh, as in azure, azure, pleasure, seizure, measure, erasure, treasure, composure, disclosure. 1. The measure of man is mind. 2. Your pleasure shall be the law. 3. The treasures of the universe are his. 4. The seizure was made according to law. 6. Not like those steps on heaven's azure. Exercises on Sub -Vocals. — Liquids. XXVIII. 1, as in lo. loud, long, land, lend, fall, all, 1. Lo, the poor Indian ! 2. Leaves have their time to fall. 3. Leave me, leave me to die alone. 4. Land, land ahead. 5. Little lads like looking about. 6. Learned lads like long lessons. 7. Last, last, lordliest of lords. 8. Lord Leland long loved the landlady of Leicester leave, last, least. loose, call. wall. ARTICULATION. XXIX. r, as in row roar, roam, roast. reel. round, rise, river. reap, flour, fear. near. sear. 85 1. Rough and rugged rocks rear their heads high in air. 2 Kound the rade ring the ragged rascal ran. 3. Robert rebuked Richard, who ran roaring. 4. Rich, ripe, round fruit hung round the room, 5. Real riches rise from within. 6. Return, O holy Dove, return ! 1. Roderick Random ran a ridiculous race. 8. Rivers to the ocean rim. XXX. m, as in mow. moon, morn, move, mop, man, mind, malt, mine, arm, farm, harm, warm.* 1. Many men are misled by fame. 2. More than mortal man may not be. 3. Much learning hath made thee mad. 4. Milestones mark the march of time. 5. More misery may yet be mine. 6. Mournfully they march to the martial music. 7. Men may rise by their own merit. 8. May thy memory be embalmed in the hearts of men. XI. n, as in no. noon. now, near. name, new, nice. never. nest, fan. man. ran. won. 1. Name not the gods, thou boy of tears. 2. No nation need despair. 86 SCIENCE OF ELOCUTION. 3. Not now, I^eighbor N'orton. 4. Near by the spring upon a tree you know I cut your name. 5. No man knows the future. 6. Now none so poor to do him reverence. 7. I would never lay down my arms, never, never, never ! 8. Napoleon's noble nature knew no niggardly notions. XXXII. ng, as in sing. wing, ring, long, song, bring, thing, doing, ringing, arming, h^arning, rising, warring. 1. Bring flowers, sweet flowers. 2. Long may it wave. 3. Standing on the confines of another world. 4. Living, we will maintain it. 5. Dying we will assert it. 6. It is my living sentiment. Y. By the blessing of God it will be my dying sen timent. 8. Nothing but death can separate us. Exercises on Sub-Yocals. — Coalescents. XXXIIL w, as in wit. was, wise, word, wind, war, wan, wild, well, weed, weld, wear, week. 1. Wild was the night. 2. Weep not for me. 3. When wisdom shall return. 4. Well have they done their part. 5. Wise men will rule well. 6. Wisdom is above rubies. yard, yea, yacht, yawl, yelk, yelp, youth. your. ARTICULATION. 37 *i. Was ever woman in this humor wooed ? 8. Was ever woman in this humor won ? XXXIV. y, as in yet. you, yes, yawn, year, yell, yellow, yield, young, 1. Yield to mercy while 'tis offered to you. 2. Yet I say unto you that Solomon in all his glory v^as not arrayed like one of these. 3. Yield, madman, yield, thy horse is down. 4. Young men ahoy ! 5. Youth is the seed-time of life. 6. Yonder comes the powerful king of day. 7. Yesterday shall be as to-day. 8. Year after year our blessings continue. ExEECiSES ON AspiEATES. — Mcplodents. XXXY. p, as in pin. pipe, place. page. post. port. play. poor. pope. pony. pop, point. ply, poem. press. prove. proud. 1. Prove all things. 2. Poverty and pride are poor companions. 3. Perish my name ! 4. Perhaps her love, perhaps her kingdom, charmed him. 5. Pickwick Papers, part first. 6. Pour this pestilence into her eyes. 7. Pictures of palaces please the eye. 8. Pious people praise the Lord. toy, time, tat, tart. tight, trout, tangle, tartan. 88 SCIENCE OF ELOCUTION. XXXVI. t, as in tip. top, till, tap, tag, test, tent, tartar, tassel, 1. Touch not, taste not, handle not. 2. Time and tide wait for no man. 3. Turn their uprooted trunks toward the skies. 4. Tremble and totter, ye adamantine mountains, 5. Teaching the rustic moralist to die. 6. Teach the truant child to pray. 7. Two guests sat at the feast. 8. Tar, tallow, tumeric, turpentine, and tin. XXXYII. k, as in kick. kin. keel. keep. ken, key, kind, king, kiss, kite. kirk. cart, cape, kink. kith. call, cost. 1. Keep thy own counsels. 2. Come in consumption's ghastly form. 3. Kites rise against the wind. 4. Clean, placid Leman. 5. Kill a king. 6. Crown the victor. 7. Kindness kills the cause of hate. 8. Come one, come all. XXXYIII. ch, as in church. choose, chaste, chat, cneek, cheese, cheer, cheat, cheap, chide, cherish, choice, child, chief, chess, cherub, chick. 1. Children choose trifling toys. 2. Chaucer's poetry charmed the chief. 5 . — Continuants, far, fane, favor, feed, fenny, fetter, finger, finical. ARTICULATION. 39 3. Charge, Chester ! charge ! 4. Change cannot change thee. 5. Cheery, changeless, chieftainless. 6. Chaplets of chainless charity are for thee. 7 Chalice of childlike cheerfulness is thine. 8. Charity suffereth, and is kind. Exercises on Aspirates.- XXXIX. f, as in fame, fast, fate, fatal, fearful, felon, fellow, friend, filcher, 1. Fast bind, fast find. 2. Fasting he went to sleep, and fasting waked. 3. Fast by the throne obsequious Fame resides. 4. Father, from above bend down thine ear. 5. Fortune favors the brave. 6. False face must hide what the false heart doth know. ^, Firm in his faith he falters not. 8. First in war, first in peace, and first in the hearts of his countrymen. XL. th, as in think. thick, thin, through, thanks, thought, thrust, .thong, thousand, breath, hath, birth, death. 1. Three thousand thistles were thrust through his thumb. 2. Thanks to the thoughtful giver. 3. Thick and thicker fell the hail. 4. Through the thronged crowd he thrust his way, 5. Thrust the thorn into the flesh. 4^ SCIENCE OF ELOCUTION. 6. Three thousand soldiers thoughtlessly threw them- selves away, 7. Think thoughtfully three times- XLI. s, as in sound. sing, sour, sight, south, sigh, soon, stop, safe, song, suns, systems, strand. 1. Sans teeth, sans eyes, sans taste, sans every thing. . 2. Star after star from heaven's high arch shall rush. 3. Send us the spirit of the Son. 4. See the stars from heaven falling. 5. Soldiers, sailors, seamen, all were lost. 6. Suns sink on suns, and systems systems crush. Y. See sinners in the Gospel glass. 8. Softly, slowly see the sun arise. XLII. sh, as in shame. shun, show, shear, shove, shout, sham, shroud, shelf, shine, ship, shore, shrina 1. Shakspeare, Shelley and Sheridan. 2. She sang the song of the shirt. 3. Ships, sailorless, lay rotting on the sea. 4. Shout, shout aloud for joy ! 5. Shrines shall guard the sacred dust. 6. So shalt thou rest secure. 7. Shroud my shame, night's gathering darkness, 8. She then shall dress a sweeter sod. XLIII. h, as in hope. hold, liand. hard. harp, head, help. half. hart, harsh, herds, hero, hermit AETICULATION 41 1. How heavy the hunter's tread. 2. His horsemen hard behind us ride. 8. Heroes have hearts for noble deeds. 4. How sweet to my heart are the scenes of my childhood 5. Hail, holy light. 6 How high the heavens appear ! 7. He heaved a huge stone up the hill. 8. Hark ! hark ! for bread my children cry. XLIV. wh, as in what. when, whip, where, whet, wheel, wheat, whine, white, whips, whence, what, whirl. 1. "Whence and what art thou ? 2. What whim led Whitney to invent the cotton gin ? 3. Whither, O whither shall I fly ! 4. What white- winged sail is that ? 5. Why will kings forget that they are men ! 6. Whither when they came they fell at words. 7. Whither away so fast ? 8. Whisper softly in the assembly. Initial Combinations. 1. Br. brick, bread, bran, brought, brush, breeze, broom. 2. Bl. bloom, blur, blaze, blight, blood, blow, blue. 3. Dr. drill, dread, dram, dross, drum, dream, droll. 4. Dw. dwell, dwarf, dwindle. 5. Fl. fling, fled, flat, flood, flee, flare, flaw. 0. Fr. froze, fruit, frame, fry, from, frieze. 7 GL glib, glen, glad, gloss, glut, glean, glare. 42 SCIENCE OF ELOCUTION. 8. Gr. grasp, graz6, grind, growl, grow, grooin. 9. Kl. click, clef, clam, clot, cluck, clean, claw. 10. Kr. crane, crime, crown, crow, crude, cram. 11. Kw. quick, quench, quack, queer, quart, quirk. .12. Ku. cue, cube, cute, cure, curate. 13. Pr. prim, priest, prong, prayer, praise, prime. proud. 14. PI. plat, plot, plush, please, play, ply, plow. 15. Sp. spin, spend, span, spar, spur, spear, spare, spawn. 16. Spr. spring, spread, sprat, sprung, spree, sprawl. spray. 17. Spl. split, splash, spleen, splice, splint. 18. Sph. sphere, sphinx, spheric, spherule. 19. St. stick, stem, stand, star, stood, stun, steel. 20. Str. straw, stray, strive, strow, strong, strength. 21. Sn. snip, snag, snarl, snub, sneeze, snores, snail. 22. Sm. smut, smear, small, smile, smote, smooth, smell. 23. SI. slip, slept, slang, sloth, slung, sleep, slur, slay. 24. Sk. skip, scan, scot, scar, scaled, score, scale, sky. 25. Ski. Sclave, sclerotic. 26. Skr. scrip, scrap, scrub, scream, scrawl, scribe, screw. 27. Skw. squib, square, squash, squat, squeak, squall. 28. Shr. shrimp, shrug, shrill, shrive, shroud, shrew. 29. Tr. trill, tread, trash, trot, trust, tree, train, try* 30. Tw. twinge, twang, tweed, twain, twine, tweak, 31. Thr. thrill, thread, throb, thrush, three, thrice. ARTICULATION. 43 Terminal Combinations. COMBINATIONS. EXAMPLES. Bd, hdsL Fro-b'd'st, hlsib-b'd'st, rohb'd'st, ov-b^d. bly hist bid, bldst, biz, trovL-ble, tron-brst, troU'bVd, trou- brdst, trou-bles. bz. m-bs^ na-&5, pro-^es, Xri-bes, sta-^^, cwc-bs. bst, fib-5'5^, stub-5'sif, rob-5'5^5 ^dh-b'^st, YO-b^St, dl, dlst, did, didst, dlz. han-cZ/e, hSiVi-dVst, \i2iXi-dVd, han- dVdst, \\2^n-dles, dn, dnz, dnst, dnd, har-den, har-de/i5, har-d'^n'st, har- dndst. d'^n^d, hsLY-d^n^dst. dz, fsi-des, hi-des, dee-ds, los^- ds, hroo-ds, hee-ds. dst, mi-dst, hred-d^st, di-dst, Gonl-d'^st, hsi-d^st, lo2i-d^st dih, dths. . wi-dth,\)Ye2i'dth,'bvesi-dths,wi'dths. gd, gdst, heg-g^d, brag-^W, hrag-g^dst, beg- g'd'st. gly gist, gld, gldst, glz. msin-gle, man-grst, msmgrd, man- gVdst, msin-gles. gz. di-gs, dre-gs, wa-gs, lo-gs, hu-gs, eg-gs, ho-gs, gsU Isig-g^st, wsig-g^st, dog-g^st, dug- g'sL jd, brid-^W, hed-^W, dred-^W, ind-g'd. fl,flst,fld,fldst,flz, Xxi'fle, tn-jVst, tn-jVd, XA-jVdst^ ti'i-Jles, A/^^i/^^^' swi/jf, wa-/^, wsL-fts, wsL-ft^st, qu.2if-/fst. 4:4 SCIENCE OF ELOCUTION. COMBINATIONS. EXAMPLES. fs, fst. snu;/5, lau-^A5, lau-^A's^, ^tu^-f^st, fth, fths. ^-ft/i, fi-fths. si, slsty ski, sldst, slz, ne-stle, ne-strst, ne-stPd, ne-strdsi, ne-stles. s/c, sJct, sJcs, sJcst, ma-s^, m^i-s/c^d, msi-sks, msi-sFst, sp, S2^t, sps. rsi-sp, TSi-sp'^d, YSi-sps, clsi-sps. St, sts. ^-st, hn-st, hU'Sts, costs. cht. hit-ch^d, iQt-cNd, sket-c/i'4 hat-cAW. lb, Ibd, Ibz, bu-^^, hvi-Wd, hu-lbs. Id, Idz, Idst. ^\4ed, ho-ld, lao-lds, \io-ld'^st. ^Ud'st. Ij, Ijd. hi-lge, hu-lge, hn-lg^d, bi-Z^W. Im, Imd, Imz, whe-lm, whe-lm'^d, whe-lms. In, &wol-len, idl-len, sto-len. Iv, Ivd, Ivz, de-lve, she-lve, she-lv^d, she-lves, de-lv^d, de-lves. Iz. ^l-ls, tel-ls, hal-ls, hul-ls, tol-ls. Gsii-ls, Ik, Iks, Ikt, Ikts, e-lk, si-Ik, si-Iks, m.u-lct, mu-lcts. Ip, Ipt, Ips, Ipst, ])u-lp, he-lp, he-lp'^d, he-lps. he-lp^st. It, Us, Itst. hi-lt, h2i-lt, hsi-lts, hsi-lt^st, shaV^, shsi-lfst. If, Ifs. de-?/, gu-lf, gu-lfs, se-lf. Is, 1st. fsi-lse, M-Pst, dwel-rst, csd-Vst, Ith, Uhs. ti-lth, hea-lth, hesi-lths, wea-lth. Ich, Icht, Mch, McKd, md, mdsL dim-mW, ento-wi^'J, ento-mSWs?, hem-mW. mz. \2rmbs, to-mbs, he-ms, su-ms, ha-?7Z5. ARTICULATIOJS". 45 COMBINATIONS. EXAMPLES., mp, mps^ mpt^ mpts, i-mp, i-^2ps, Sitte-mpt, Sutte-mpts. mf, mfs, ly-mph^ uj-mph^ nj-mphs, nist, dim-m'sif, ento-wz^'s^, hem-m's^, nd, ndzy ndst, ^-nd, se-nd, se-nds, se-nd^st^ ^-nd^st. nj^ njd» &i-nge, rei-nge, rsL-ng^dy ^i-ng'^d. nz, pe-?25, ^-ns, fsi-ns, tu-ns, quee-ns, ngdy ngdsty ngz^ ngth^ hsi-ng^d, hsi-ng^dst, hsi-ngs^ ngths, stve-ngth, stre-ngths. nk, nkt^ nks^ nJcst, vfi-nJc^ ^i-nlc^d^ y^i-nJcs^ ^i-nJc'st^ dLvi'7iJc* St. nt^ nts^ ntst, W2i-7it, wsi-nts^ wsi-7ifst, he-9ifst, nSy nst, ^e-nce, wi-nc6, wi-?2cW, dab-nce, da-iic'st. nchj ncht, que-nch, ■Qi-7ich, ^\-7ich''dy qae'7ich'^d. rb, rbstj rbd, rbdst, ba-r5, hsi-rb^st, ha-rb^d, hsi-rb^dst^ rbz. 'bsi-rbs, rd^ rdst, rdz, fur-rW, hea-rd, he2i-rd^st^ ha-rdSy csi-rds, rg, rgz, hu-rgh, hu-rghs. rj, rjd. me-rge, ^-^ge, n-rg\I, me-rg^d, rl, rlst, rid, rlds% I'lz, hu-rl, \m-rVst, hu-rVd, \i\x.-rVdsty hn-rls. rr)7, rmst, rmc?, r7nds% wa-r^-Tz, wsi-rTn^st, wa-rTn^d, rmz, rmth, ^2i-r7n'' dst, wsi'rr)2s, wsL-r7nt/L r7iy r7ist, r7id, r72dst, bu-r;2, hu-r7i*st, bu-r/iW, hu-rn^Ist, r7ity rnz. hu-rnt, h\x-7ms. rVy rvsty rvd^ rvdst, cu-rve^ cu-rv^st, cn-rv'^d, cu-rv^dst, Tvz, QVi-rves, rz. fi-rs, sta-r5, wa-7*5, besL-rs^ o-res^ ^-res. 46 SCIENCE OF ELOCUTION. COMBINATIONS. EXAMPLES. rh^ rks^ rkst^ rJc% rJctst, ha-r^, hsi-rks, hsi-rk'^st, Im-rFd^ hsi-rk'^dst. rp, rps, rpst, rpt, rptst, ha-rp, ha-rp5, ha-rp's^, ha-r^W, ha-rp^dst, rty rts^ rtst, spi-r^, hu-rt, hn-rts^ hn-rfst, spi-r^ rfy rft, rfs. sca-r/*, tu-r/*, tu-rf'd, tu-r/^, sca-r/s. rs, rst, rsts^ rstst, cu-rsey hea-rse, hu-rst^ hu-rsts, cu-rsW, cu-rs^dst. rthy rths. wor-thy hea-r^A, hesL-rths^ mi-r^A, hi-rths, rsh, msi-rshy ha-rsA. rchy rcht, sea-rcA, sea-rcAW, lu-rcA, lu-rcAW. vJ, vdst, liVc?, li-?;W5^, mo-?;W, mo-'yWs^. vly vlst, vldj vldsty viz. dri-v7, diVi-v^V st^ dri-vTc?, dri-^'Z'cZ^^, vrty vnZy vnth, hea-?;'^^, hea-^;'^5, ele-'y'n^A, dri-'y'Ti. vs. el-v65, dei-^)e5, li-veSy rao-veSy lea'-yg^, do-?;6s, vsj5. moVs^, li'-y'^i^, del-y'5^, ra-'y'^i?. gc?. plea-sec?, ama-sW, rai-sec?, clo-sec?. 2?, zlsty zldy zldsty zlz. mMz-zUy vuMz-zPsty raviZ'zrdy muz- zVdsty mMz-zles, zniy zmz, cha-5m, spa-sm, spa-sms, cha-sms. g^, sns^, snc?, 271(^5^, pri-50?2, impri-so^z'sj?, impri-so?2W, S72S. impri-5(97iV7s^, ^vi-sons, thdy thZy thst, wrea.-Wdy wresi-ths^ wrea-^A'5^. My klsty Tddy Jcldsty Jclz. tvxxC'Mey trviQ-JcV sty truc-^ZW, truo- TcVdsty irvLQ-Jcles, huy knst^ Jcndy Jcndsty blac-^^e/i, hld^Q-ken'st^ }A2iQr7cen^d. hnz, \i\2,Q>-herC dsty blac-^e/i5. kty kt8, pic-Z;W, 2i-cty a-ctSy roc-Z;W, kio-k^d. Jc8. JixO'CkSy TSL-cksy ^i'cksy de-cks. ARTICULATION. 4-7 COMBINATIONS. EXAMPLES. pl^ plst, pld, pldst, pl-uck, rip-pie^ ri-p-pfst, ri^-pPd^ plz, riip-prdst^ ryp-pks. pt, pts. c\iip-ped, crj'pt^ cr j-pts, straip-pedi ps, pst, YO-peSy cli-ps^ clip-^'s^, rip-ped'st, pth^pths. de-pth^ de-pths. il^ tlsty tidy tldsty tlz. set tie, set-trst, ^et-tPdy set-trdst^ set-ties, ts^ tst, mt^ts, pe-^5, pe-«'5^, ro-tSy rot-f^U 48 SCIENCE OF ELOCUTIOX CHAPTER n. RESPIRATION. The ability to speak well is in a great degree dependent on appropriate respiration. Without a sufficient supply of breath the vocal organs cannot perform their func- tions properly. Ignorance of the right method of using the lungs and the larynx in reading and speaking has produced more cases of pulmonary consumption than all other causes combined. Exercises for acquiring control of these organs should, then, first claim the attention of the student of Elocution. SECTION J. POSITION. Preparatory to every vocal exercise the pupil should place the body in a perfectly erect and easy position, the chest fully projected, the shoulders thrown backward and downward, the head erect, the body supported on the left foot, the right foot placed a little in advance of the left, and forming with it an angle of seventy-five de- grees, the hands hanging naturally by the side. SECTION II. I. Exercise in Breathing. Inhale very slowly until the lungs are inflated to their utmost capacity, then, after retaining the breath for a moment, as slowly exhale. RESPIRATION. 49 Repeat this exercise at least a dozen times. In the act of inhalation carefully avoid a harsh, aspirate sound, as no habit is more injurious to the vocal organs. II. Exercise in Effusive Yocal BREATHiifG. Inflate the lungs as before, then exhale in a prolonged sound of the letter A. In the exhalation give out only sufficient breath to keep the sound audible. Continue each exercise as long as you can sustain the breath, and repeat at least a dozen times. This exercise is called Effusive Breathing, because the breath is gently sent forth from the organs. III. Exercise in Expulsive Yocal Breathing. Inhale the breath rapidly but quietly, and emit it suddenly and forcibly in the sound of the letter h. In this exercise the breath is expelled from the organs forcibly, and it is known as expulsive breathing. Repeat a number of times. lY. Exercise in Explosive Yocal Breathing. Draw in the breath very quickly, and send it forth abruptly and violently from the organs in the sound of the letter h. This exercise is called explosive breathing because the breath is violently and abruptly emitted from the organs. Repeat at least a dozen times. 50 SCIEJN-CE OF ELOCUTION. CHAPTER ni. YOICB. VoiOB IS sound produced by the passage of the air through the larynx and cavities of the mouth and nose. It is not the purpose of the present work to give a detailed description of the mechanical movements of the organs, and the action of the air upon them in the production of vocal sound, nor is such a knowledge necessary to excellence in vocal expression. The stu- dent who desires to investigate this subject will find it fully discussed in works upon physiology. An analysis of the attributes and accidents of voice, and their effect on expression, is more properly the work of the student of elocution, and to this his attention is invited. SECTION I. ATTRIBUTES OF VOICE. Having acquired by the preceding exercises control of the organs of articulation and respiration, attention is now directed to those attributes of voice which give expression to thought and feeling irresjDective of articu- late utterance. An analysis of the human voice exhibits six essential elements, namely : Form, Quality, Force, Stress, Pitch, and Movement. These are called attributes, because in the utterance of every sentence each of these elements is found. ATTRIBUTES OF VOICE. 51 We may read or speak without employing Quantity, long or short, Inflection, rising or falling, Waves, up- ward or downward. Cadence, Pauses, Emphasis, Climax, or Grouping ; but it is impossible to utter a sentence without exhibiting Form, either eflusive, expulsive, or explosive, Quality, pure or impure. Force, in some degree. Stress, of some kind. Pitch — some place upon the musical scale — and Movement of some rate. And it is by the various combinations of these attri butes that we give appropriate expression to the differ ent forms of thought and emotion. A knowledge, then, of their effect on utterance, and the ability to give at pleasure any desired combination, is indispensable to excellence in reading and speaking. To this end it will be necessary to consider each attribute separately, determine its characteristic effect on expres- sion, and present exercises by which control of it may be acquired. SECTION II. FORM OF VOICE. Form of voice is the manner in which the sound is sent forth from the vocal organs. This must be Effusive, Expulsive, or Explosive, as every sound, whether produced by the vocal organs or by any other means, must be in one of these forms. SECTION in. EFFUSIVE FORM. The Ejffusive is that form of voice in which the sound issues from the organs in a tranquil manner, without abruptness either in the beginning or ending. The breath is not sent forth by any forcible effort, but is gently effused into the surrounding air. 52 . SCIENCE OF ELOCUTION. To acquire control of this form of voice practice tlie following exercises as directed : Inhale a large volume of air before uttering each sound. In the formation of the sound give out only BufBcient breath to produce the required tone. Repeat each of the elements, continuing the sound as long as you can sustain the breath. Effusive Form — First ExT^;T?r!TSB 1. e, as heard in eve, mete. 2. e, (( ermine, earth. 3. a. cc ale, may. 4. a, (( air, care. 5. a, u arm, farm, 6. 6, u order, form. 7. 5, u old, note. 8. 00, u ooze, moon. Repeat each of the following words several times in a moderately prolonged tone, being careful to avoid all abruptness both in the beginning and close of the utterance. Effusive Form- -Second Exercise. All, arm. our. use, hall, harm. oil. duty, fall. farm, vow. beauty, awful. calm, howl. amuse, pall. afar, balm. refuse. The ejffusive is the appropriate form of voice for the expression of pathos, solemnity, sublimity, grandeur, reverence, adoration^ devotion, av^e^ and amazemerit, of a quiet and tranquil character. The following selections should be practiced with special reference to the effusive form. EFFUSIVE FORM. 53 Examples : I. Pathos. [From " The Death Bed."— iZbcw?.] "We watched her breathing through the night Her breathing soft and low, As in her breast the wave of hfe Kent heaving to and fro. II. Solemnity. [From "Gratitude."] When all thy mercies, my God, My rising soul surveys. Transported with the view, I'm lost In wonder, love, and praise. III. Reverence and Adoration. [From "The Morning Hymn in Paradise." — MiltonJ] These are thy glorious works. Parent of Good, Almighty 1 Thine this universal frame, Thus wondrous fair. Thyself how wondrous then I Unspeakable I who sitt'st above these heavens, To us invisible, or dimly seen Midst these thy lowest works. ly. Awe and Amazement. [From " Macbethy—Shakspeare.'] Now o'er {he one half world Nature seems dead, and wicked dreams abuse The curtained sleep ; now witchcraft celebrates Pale Hecate's offerings ; and withered murder, Alarmed by his sentinel, the wolf, "Whose howl's his watch, thus, with his stealthy pace, Toward his design moves like a ghost. The effusive gives a softness and smoothness to the tone, which, in the expression of pathos, solemnity, de- votion, and reverence, produces one of the most pleasing effects in delivery, calling out at once all the purer and 54 SCIENCE OF ELOCUTION, nobler feelings, and fitting the mind for the contempla- tion of the higher and holier scenes, while the absence of this property of utterance renders the reading of the most sublime passages in prayer and praise harsh and unpleasant. In the utterance of the milder forms of awe and horror the effusive gives intensity to the expression. SECTION IV. EXPULSIVE FORM. The expulsive is that form of voice in which the sound is emitted from the organs in an abrupt and forcible manner. The breath, by a vigorous inward and upward action of the abdominal muscles, is sent forth from the lungs to the vocal organs, where it is converted into an expulsive sound. To acquire control of this form of voice, great care should be taken while practicing the exercises to main- tain a vigorous play of the abdominal, dorsal and inter- costal muscles, to keep the head erect and the shoulders well back. Repeat the following exercises in a clear, full, expul- sive form of voice. Expulsive Form — First Exercise. 1. e, as heard in end, ell. 2. a, add, have. 3. &, ask, dance. 4. 6, odd, not. 5. I, ill, fin. 6. tt, up, study. l.n, pull, push. EXPULSIVE FORM. 65 Expulsive Foem- -Second Exercise. Add, on. air. end, eve, Tip, no, fair, orb, awful. law. live, dare, own. die. few, ice, send. fool. fame, art, ale, arm, isle. sink, read, heard, swim, brave, down, this, slave. The expulsive is the appropriate form of voice for the utterance of narrative^ descriptive^ didactic^ animated^ argumentative^ and impassioned thought as expressed in scientific and literary lectures, doctrinal and practical sermons, senatorial, political, and judicial speeches, and formal orations. . Examples: I. IST aeration. [From " A Soldier's Funeral." — J.. H. Quint.} The first funeral at whicli I of&ciated was at Harper's Ferry, while our regiment occupied that post. There had been brought into our hospital a soldier of the Fifteenth Pennsylvania — then on its way home at the expiration of its three months' service — whom that regi- ment left with us one afternoon as they passed through the place. That evening, as I passed at a late hour through the hospital, I no- ticed this new face, and, on inquiry, found the facts. He was sick with typhoid fever — very sick. Little more than a boy in years, he was to me, then, nameless, not one of ours ; but he was a suffering soldier, and may Grod bless every one of such 1 n. Didactic. [From "Industry and Eloquence."-— VTir^.] In the ancient republics of Greece and Rome, oratory was a neces- sary branch of a finished education. A much smaller proportion of the citizens were educated than among us, but of these a much larger number became orators. No man could hope for distinction or 56 SCIENCE OF ELOCUTION influence and yet slight this art. The commanders of their armies were orators as well as soldiers, and ruled as well by their rhetorical as by their military skill There was no trusting with them, as with us, to a natural facility, or the acquisition of an accidental fluency by occasional practice. III. Argumentative Oratorical. [From " Our Duty to our Country.''''— Story.] "We stand the latest, and, if we fail, probably the last, experimen' •f self-government by the people. We have begun it under circum- stances of the most auspicious nature. We are in the vigor of youthl Our growth has never been checked by the oppressions of tyranny; our constitutions have never been enfeebled by the vices or luxuries of the Old World. Such as we are we have been from the beginning — simple, hardy, intelligent, accustomed to self-government and to • self-respect. The Atlantic rolls between us and any formidable foe. Within our territory, stretching through many degrees of latitude and longitude, we' have the choice of many products and many means of independence. The government is mild, the press is free, religion is free; knowledge reaches, or may reach, every home. What fairer prospect of success could be presented ? What means more adequate to accomplish the sublime end? What more is necessary than for the people to preserve what they have themselves created ? Already has the age caught the spirit of our institutions. It has already ascended the Andes and snuffed the breezes of both oceans ; it has infused itself into the life-blood of Europe, and warmed the sunny plains of France and the low lands of Holland; it has touched the philosophy of Germany and the North, and, moving onward to the South, has opened to G-reece the lessons of her better days. Can it be that America, under such circumstances, can betray herself? Can it be that she is to be added to the catalogue of republics, the in- scription upon whose ruins is, They were, but they are not? Forbid it, my countrymen 1 Forbid it, Heaven 1 lY. Impassioned. [From " Eloquence of James Otis." — Mrs. Oliilds.'] The flame of liberty is extinguished in Greece and Home, but the light of its glowing embers is still bright and strong on the shores of America. Actuated by its sacred influence, we will resist unto death ; but we will not countenance anarchy and misrule. The wrongs that a desperate community have heaped upon their enemies shall be amply EXPLOSIVE FORM. 57 and speedily repaired. Still it may be well for some proud men to re-member that a fire is lighted in these colonies which one breath of their king may kindle into such a flame that the blood of all England cannot extinguish it. The expulsive form gives energy, life, and spirit to all direct and forcible speaking. Divested of this form of voice the manly and powerful eloquence of Demos- thenes, Chatham, Webster, and Clay, would become ridiculous and contemptible. No exercise is more beneficial for strengthening and developing the voice than practice on the expulsive form. SECTION V. EXPLOSIVE FORM. 'The explosive is that form of voice in which the sound bursts forth instantaneously from the organs. It resembles in suddenness the crack of a pistol or the report of a rifle. " This form of voice proceeds from a violent and abrupt exertion of the abdominal muscles acting on the diaphragm, and thus discharging a large volume of air previously inhaled. The breath in this process is, as it were, dashed against the glottis or lips of the larynx, causing a loud and instantaneous explosion." " In the act of ' explosion,' the chink of the glottis is for a moment closed, and resistance at first offered to the escape of the breath by a firm compression of the lips of the larynx and downward pressure of the epiglottis. *'After this instant pressure and resistance, follows the explosion, caused by the appulsive act of the abdominal muscles and diaphragm, propelling the breath with pow- erful and irresistible volume on the glottis and epiglottis, which at length give way and suffer the breath to escape 58 SCIENCE OF ELOCUTION". with a loud and sudden report of a purely explosive character." Practice the following elements and words with all the force and abruptness you can command. Inflate the lungs before each effort, and then expel the breath vio- lently as directed above. In connection with these exercises practice the me- chanical act of coughing. Explosive Foem — Fiest Exeeoise. 1. i, as heard in it, ill. 2. e, ' let, met. 3. a, ' ' add, lad. 4. a, ' ask, task. 5. 0, ' ' odd, clod. 6. u, ' pull, full. 7. ii, ' ' up, cup. Explosive Foem : — Second Exeecise. In, art. on, ebb, air, up. all, let. back, hacked , trip, skip. down, flit. stick, stuck. mock, old. lie, down. The explosive is the appropriate form for the expres- sion of Joy, gladness^ intense passion^ as anger^ scorn^ hatred^ revenge^ the sudden cry of terror and alarms and the shout of courage and defiance. Examples : I. Ecstatic Joi , Joy, joy 1 shout aloud for joy ! EXPLOSIVE FORM. 59 II. Anger and Defiance. [From " The Parting of Marmion and Douglas." — Scott,} 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. III. Scorn. [From " Seminole's Defiance." — Patten.] I loathe you with my bosom ; I scorn you with mine eye ; I'll taunt you with my latest breath, And fight you till I die. ly. Courage. [From " Warren's Address." — Pierponf] Stand ! the ground's your own, my braves : Will ye give it up to slaves ? Wni ye look for greener graves ? Hope ye mercy still ? "What's the mercy despots feel ? Hear it in that battle-peal ! Read it on yon bristling steel I Ask it, ye who will. No exercise is so effectual for imparting energy to the tone or strengthening weak organs as practice on the explosive form of voice. Combined with the expulsive, in argumentative discourse, it gives life and energy to the utterance. Murdoch and Russell in their excellent work, " Yocal Culture," say : " This form of the human voice (the ex- plosive) is one of the most impressive in its effects. By a law of our constitution it acts with an instanta- neous shock on the sympathetic nerve, and rouses the 60 SCIENCE OF elocutio:n'. sensibility of the whole frame ; it summons to instant action all the senses, and in the thrill which it sends from nerve to brain we feel its awakening and inciting power over the mind." With the rapidity of lightning it penetrates every faculty and sets it instinctively on the alert. It seems designed by nature as the note of alarm to the citadel of the soul. SECTION VI. QUALITY OF VOICE. Quality of voice is the purity or impurity of the tone. The different qualities are, Pure Tone, Orotund, Aspi- rate, Pectoral, Guttural, Oral and Nasal. Of these the first two are the appropriate qualities for the expression of unimpassioned forms of thought and the higher and nobler feelings and emotions. The Aspirate, Pectoral and Guttural are the natural language of the malignant feelings and passions. Even the lower animals express their feelings of hate, anger, rage in the aspirate, pectoral and guttural qualities, as heard in the hissing of the serpent, the low pectoral growl of the wolf, and the deep guttural roar of the tiger. In continuous, unimpassioned discourse these impure qualities are often employed to give emphasis to certain words and phrases. The Nasal and Oral are used chiefly in personation, mimicry and burlesque. Each of these qualities admit of the three forms al« ready presented, and will be discussed in their relations to the Effusive, Expulsive and Explosive. PURE TONE, 61 SECTION VII. PURE TONE. Pure tone is that quality of voice in which all the breath is converted into a clear, round, smooth, musical sound, with the resonance in the back part of the roof of the mouth. It is free from all aspirate, oral, nasal, or other impure qualities. Owing to our defective system of education this quality of voice, so peculiar to childhood, is rarely pos- sessed in more mature acre. The restraining influences of the school-room tend directly to destroy all the natural purity and sweetness of the voice. To restore this natural quality, practice daily the fol- lowing exercises with the strictest attention to the purity of the tone. That the highest advantage may be derived from these exercises, special regard should be given to the quality. Repeat a number of times each of the following ele- ments in the effusive form with the utmost purity of tone. It will be noticed that the object of the exercise on page 52 was to cultivate form of voice w^ithout reference to quality or other attributes. The special object of this exercise is to cultivate purity of tone, and at the same time to retain and strengthen what was gained by the exercises under form. It should be constantly borne in mind that, in connection with each additional exercise, attention should be given to all the previous exercises, so that when the exercises in Move- ment of Voice are presented, (the last exercises under the attributes,) they will be not only exercises in Move- 62 SCIENCE OF ELOCUTION. ment, but also in Form, Quality, Force, Stress, and Pitch. Pure Tone, Efpusiye Form — First Exercise, 1. e, as heard in me, see. 2. a. (C ale, pale. 3. k, u air, pare. 4. a, u father, arm. 5. a, cc all, talk. 6. 0, (( no, old. 7. 00, u moon, food. Repeat the words as directed above, only with less prolongation Pure Tone, Effusiye Form — Second Exerci&e. All, fall, breathe, softly, soldiers, peacefully, brother, mother, gently, wondrous, bow, heaven, beauteous, brow, sleep, pall. Pure tone, in the effusive form, is the appropriate quality of voice for the utterance of pathetic, solemn^ serious and tranquil thought, not mingled with grandeur and sublimity, where the purpose is to awaken the feel* ings rather than to enlighten the mind. Examples : I. Solem:n'ity. Pure Tone, Effusive Form. [From " An Evening Eevery."— PAe&e Carp.^ One sweetly solemn thought Comes to me o'er and. o'er; I'm nearer my home to-day Than ever IVe been before. PURE TONE, EFFUSIVE FORM. 63 JX Serious Thought. Pure Tone, Effusive Form, There is often sadness in the tone, And a moisture in the eye, And a trembhng sorrow in the voice, "When we bid a last good-bye ; But sadder far than this, I ween, 0, sadder far than all, Is the heart-throb with which we strain To catch the last footfall. — Anon. III. TuAiq^QUILLITT. Fure Tone, Effusive Form. My soul to-day Is far away. Sailing the Yesuvian Bay ; My winged boat, A bird afloat, Swims round the purple peaks remote. — T. B. Read, Repeat the following elements and words a number ot times in the Expulsive Form, Pure Tone, with the closest attention to the quality of voice : Pure Tone, Expulsive Foem — Fiest Exeecise. 1. 6, as heard in earth, ermine. 2. a, (( aim, age. 3. a, cc add, lad. 4. s, (( ell, end. 5. 8, a odd, sod. 6. tt, u up, cup. Pure Tone, Expulsive Form — Second Exercise. Arm, put, bet, let, fit, met, up, on, back, down, live, victoiy, last> again, friend, think. vi SCIENCE OF ELOCUTION. Pure tone, ill the expulsive form, is the appropriate quality of voice tor the delivery of ^larrative^ descriptive^ and didactic thought^ in which the purpose of the speaker is more to enlighten the mind than to awaken the feeU ings or rouse the passions. Examples : I. Naekative, Descriptive. Pure Tone, Expulsive Form. [From " The Blind Preacher."— Wirt.] It was one Sunday, as I traveled through the County of Orange, that my eye was caught by a cluster of horsjs tied near a ruinous old wooden house in the forest, not far from the roadside. Having frequently seen such objects before in traveling through these States, I had no difficulty ui understanding that this was a place of religious worship. Devotion alone should have stopped me to join in the duties of the congregation, but I must confess that curiosity to hear the preacher of such a wilderness was not the least of my motives. On entering I was struck with his preternatural appearance. He was a tall and very spare old man ; his head, which was covered with a white linen cap, his shriveled hands, and his voice, were all shaking under the in- fluence of palsy, and a few moments ascertained to me that he was perfectly blind. II. Didactic Pure Tone, Expulsive Form. fFrom " The Puritans." — Macaulay.] The Puritans were men whose minds had derived a peculiar char- acter from the daily contemplation of superior beings and eternal interests. Not content with acknowledging in general terms an overruhng Providence, they habitually ascribed every event to the will of the Grreat Being, for whose power nothing was too vast, for whose mspection nothing was too minute. To know him, to serve him, to enjoy him, was with them the great end of existence. They rejected with contempt the ceremonious homage which other sects substituted for the pure worship of the soul. Instead of catching occasional glimpses of the Deity through an obscuring vail, they aspired to gaze full on the intolerable brightness, and to commune with him face to face. Hence originated their contempt for terrestrial diatiuctioiiB. PURE TONE, EXPLOSIVE FORK. 65 Repeat the following elements and words in the Ex- plosive Form, Pure Tone : Pure Tone, Explosive Form — First Exercise. 1. 1, as heard in ill, fill. 2. % a up, sup. 3. e, u ell, end. 4. a, (C add, mad. 5. a, u ask, task. 6. 0, a odd, on. 7. ^h u pull, full. Pure Tone, Explosive Form — Second Exercise. Yoii, the, cup, tip, on, bit, end, niay, me, no, will, tap, nut, fill, rat, pit. Pure tone in its explosive form is the quality appro- priate for the expression of ecstatic jo^ and Qnirth, Examples : I. Ecstatic Joy. Pure Tone, Explosive Form. [From " The Voice of Spring."— Jfrs. Eemans.l I come, I come 1 ye have called me long ; I come o'er the mountains with light and song ; Te may trace my step o'er the wak'ning earth, By the winds which tell of the violet's birth, By the primrose stars in the shadowy grass, By the green leaves opening as I pass. II. Gayety. Pure Tone, Explosive Form. [From " Lochinvar." — Scott.'] O, yoimg Lochinvar is come out of the west! Through all the wide border his steed was the best; 66 SCIENCE OF ELOCUTION. And save his good broadsword he weapon had none ; He rode, all unarmed, and he rode all alone. So faithful in love, and so dauntless in war. There never was knight like the young Lochinvar. TLe advantages of Pure Tone are twofold — first, to the speaker; second, to the hearer. It is produced with less expenditure of breath than any other quality ; ita efiect upon the vocal organs is beneficial rather than injurious ; with the same eflbrt it is heard at a greater distance than any other quality ; its clear musical prop- erties give a distinctness to articulation and an ease to utterance grateful to the ear ; it produces none of the jarring effects experienced in listening to a speaker whose voice is harsh, hard, or in any way impure in quality. SECTION VIII. OROTUND. The orotund is that quality of voice in which the breath is converted into a full, round, deep, musical tone, with the resonance in the upper part of the chest. It is distinguished from the Pure Tone by a fullness, clearness, strength, smoothness, and sub-sonorous quality resembling the resonance of certain musical instru- ments. " In the orotund, volume and purity of tone, to the greatest extent of the one and the highest perfec- tion of the other, are blended in one vast sphere of sound." This quality is possessed naturally by very few. Even among public speakers it is rarely heard, save in a limited degree. Act")rs and orators of eminence and OROTUND, EFFUSIVE FORM. 67 distinction understand and appreciate the value of the orotund, and have spared no pains to obtain control of it. It is heard in all their utterance of grand, lofty and sublime thoughts. Though rarely possessed, it is susceptible of cultiva- tion, and may by judicious practice be acquired by almost every one. Dr. Rush mentions it as the highest perfection of the cultivated utterance of the public speaker. To acquire control of the orotund, practice the fol- lowing exercise with the freest opening of the vocal organs. Before repeating each element inhale a large quantity of air. Give to each sound all the volume and quantity you can command. Orotund, Effusive Form — First Exercise, 1. a, as in father, arm. 2. a, u ask, grass. 3. a, u all, talk. 4. 0, u old, note. Repeat the words as directed above, carefully observ- ing both the Effusive Form and Orotund Quality. Orotund, Effusive Form — Second Exercise* Loud, deep, dread. profound, long, full, broad. sublime, round, honor. moon. endless, father, holy. roll, majesty, soul. hour. universe, dark, torrid, silence, blue, grandeur. 68 SCIENCE OF ELOCUTION. The orotund, in tlie effusive form, is the quality of voice appropriate for the expression of sublimity^ grand- eur^ reverence^ adoration^ and devotion. Examples : I. Geandeur and Sublimity. Orotund^ Effusive Form. [From the " Apostrophe to the Ocean."--5yrow.] Thou glorious mirror, wliere tlie Almighty's form G-lasses itself in tempests ; in all time — Calm or convulsed, in breeze, or gale, or storm, Icing the pole, or in the torrid clime, Dark, heaving, boundless, endless, and sublime, The image of Eternity — the throne Of the Invisible ! even from out thy slime The monsters of the deep are made : each zone Obeys thee : thou goest forth, dread, fathomless, alone. II. Sublimity and Reverence. Orotund^ Effusive Form. [From " God."— Z>6?^^ai7m.] thou Eternal One I whose presence bright All space doth occupy, all motion guide : Unchanged through time's all-devastating flight ; Thou only Ood 1 There is no God beside I Being above all beings I Mighty One 1 Whom none can comprehend, and none explore ; "Who fiU'st existence with thyself alone : Embracing all — supporting — ruling o'er ; Being whom we call God, and know no more 1 III. Reverence and Solemnity. Orotund, Effusive Form. v [From "Psalm CIV."] Bless the Lord, my soul I Lord, my God, thou art very great ; thou art clothed with honor and majesty ; who coverest thyself with light as with a garment ; who stretchest out the heavens like a cur- tain: who layeth the beams of his chambers in the waters; who maketh the clouds his chariot ; who walketh upo.n the wings of the OKOTUND, EXPULSIVE FORM. 09 wind ; who maketli his angels spirits, his ministers a tiaming fire ; who laid the foundations of the earth, that it should not be removed forever. Repeat the following elements and words in the Ex- pulsive Form with the fullest Orotund Quality. Inflate the lungs fully before each effort. Orotujstd, Expulsive Form — First Exercise. 1. a, as heard in ale, hale. 2. a, add, liave. 3. a, air, share. 4. a, what, wander. 5. h ice, fine. 6. 0, old, bold. 7. % use, tube. Oeotund, Expulsive Form — Second Exercise. Sink, sword, down, live, die, mercy, slave, read, this, army, spurn, head, even, drawn, above, never, dissever, revive, induce, amuse, accuse, ambition, present, forever. The orotund, in the expulsive form, is the quality appropriate for the delivery of earnest^ bold, grand and lofty thought in the form of argumentative and ora- torical speeches and sermons, and impassioned poetry. Examples : I. Grand and Lofty Sentiment. Orotund^ Expulsive Form. [From " Supposed Speech of John Adams." — Webster.'] Read this declaration at the head of the army : every sword will be drawn from its scabbard, and the solemn vow uttered to maintain 70 SCIENCE OF ELOCUTION. it, or perish on the bed of honor. Pubhsh it from the pulpit ; re ligion will approve it, and the love of religious liberty will clinii around it, resolved to stand with it or fall with it. Send it to the public halls ; proclaim it there. Let them hear it who heard the roar of the enemy's cannon ; let them see it who saw their brothers and their sons fall on the field of Bunker Hill, and in the streets of Lexing- ton and Concord, and the very walls will cry out in its support. II. Oeatorical Appeal. Orotund, Expulsive Form. [From " Speech in Yirginia Convention." — Patrick B'enryJ] It is in vain, sir, to extenuate the matter. G-entlemen may cry Peace 1 peace I but there is no peace. The war is actually begun I The next gale that sweeps from the North will bring to our ears the clash of resounding arms ! Our brethren are already in the field 1 Why stand we here idle ? What is it that gentlemen wish ? What jv^ould they have ? Is life so dear, or peace so sweet, as to be pur- chased at the price of chains and slavery ? Forbid it, Almighty God ! I know not what course others may take ; but as for me, give me liberty, or give me death ! III. Earnest Exhortation. Orotund, Expulsive Form. [From " Motives of the Gospel." — JDwight,'] Ministers proclaim to you the glad tidings of great joy, and point out to you the path to heaven. The Sabbath faithfully returns its mild and sweet seasons of grace that earthly objects may not engross your thoughts and prevent your attention to immortality. The sanc- tuary unfolds its doors and invites you to enter in and be saved. The G-ospel still shines to direct your feet and to quicken your pur- suit of the inestimable prize. Saints wait with fervent hope of renew- ing their joy over your repentance. Angels spread their wings to conduct you home. The Father holds out the golden scepter of for- giveness that you may touch and live. The Son died on the crosa, ascended to heaven, and intercedes before the throne of mercy that you may be accepted. The Spirit of grace and truth descends with his benevolent influence to allure and persuade you. While all things, and God at the head of all things, are thus kindly and sol- emnly employed to encourage you in the pursuit of this inestimable good, will you forget that you have souls which must be saved or lost ? Yf ill you forget that the only time of salvation is the present ? that OROTUND, EXPLOSIVE FORM. " 71 beyond the grave there is no Grospel to be preached ? that there no offers of Hfe are to be made ? that no Redeemer will there expiate your sins, and no forgiving God receive your souls ? lY. Impassioned Poetic. Orotund^ Expulsive Form. [From "Launching of Ship."— Zo7ig/eZ?otr.] Thou, too, sail on, Ship of State ! Sail on, Union, strong and great I Humanity, with all its fears, "With all its hopes of future years, Is hanging breathless on thy fate I "We know what Master laid thy keel, What workmen wrought thy ribs of steel, "Who made each mast, and sail, and rope, What anvils rang, what hammers beat, In what a forge, and what a heat, Were shaped the anchors of thy hope. Eear not each siidden sound and shock; 'Tis of the wave, and not the rock ; 'Tis but the flapping of the sail, And not a rent made by the gale. In spite of rock and tempest roar, In spite of false lights on the shore, Sail on, nor fear to breast the sea 1 Our hearts, our hopes, are all with thee: Our hearts, our hopes, our prayers, our tears, Our faith triumphant o'er our fears. Are all with thee — are all with thee. Repeat tlie following elements and words in the Ex- plosive Form, fullest Orotund Quality. Be careful to give each exercise the sudden, startling explosive. Orotund, Explosive Form — Fikst Exercise. 1. a, as heard in add, fat. 2. g, '' end, met. 3. i, " ill, fin. 72 * SCIENCE OF ELOCUTION. 4. o, as heard in odd, not. 5. ti, " us, tub. Orotund, Explosive Form — Second Exercisk. Up, but. study. have, random. end, add. odd. done. order. put. push, He, admit, not. sit, back. neck, pick, sick, hack. mock. tuck. hick. The orotund, in the explosive form, is the quality appropriate for the expression of courage^ warning^ alarm^ terror and abrupt exclamation. Examples : I. Courage. Orotund^ Explosive Form. [From " Marco Bozzaris."— JJaZ^ec^.] Strike I till the last armed foe expires ; Strike ! for your altars and your fires ; Strike I for the green graves of your sires, God, and your native land 1 II. Terror. Orotund^ Explosive Form. [From " Marco Bozzaris-"— ^a^^ecjfc.] To arms I they come I the Greek 1 the Greek! III. Alarm. Orotund^ Explosive Form, [From " The Bells."— Poe.J Hear the loud alarum bells — Brazen bells ! What a tale of terror now their turbulency tells! In the startled ear of night How they scream out their affright ! OROTUND, EXPLOSIVE FORM. 73 Too much, horrified to speak, They can only shriek, shriek, Out of tune, In a clamorous appealing to the mercy of the fire. In a mad expostulation with the deaf and frantic fire, Leaping higher, higher, higher, "With a desperate desire. And a resolute endeavor, Now — ^now to sit, or never. By the side of the pale-faced moon. the bells, bells, bells 1 What a tale their terror tells Of despair 1 How they clang, and clash, and roar 1 "What a horror they outpour On the bosom of the palpitating air 1 Yet the ear, it fully knows. By the twanging And the clanging. How the danger ebbs and flows , Yet the ear distinctly tells, In the jangling And the wrangling. How the danger sinks and swells, By the sinking or the swelling in the anger of the bells — Of the bells— Of the bells, bells, bells, bells. Bells, bells, bells — In the clamor and the clangor of the bells I The orotund is fuller in volume and purer in quality fclian the common voice ; it is more musical in tone ; it is more efficient in the production of long quantity ; it is more under command; it is freer from all impurities; it is, in short,- the only quality appropriate for the so lemnity of the Church service, the grandeur and energy of the oration, and the majesty and sublimity of Shak^ speare and Milton. It must not, however, be imagined that the orotund, tvhen once acquired, is to entirely supersede the common 74 SCIENCE OF ELOCUTION. voice. Students of Elocution and public speakers fre- quently render themselves ridiculous, and the study of Elocution disgusting, by parading their powers of oro- tund on all occasions. Such exhibitions resemble " Ocean into tempest tossed To waft a feather or to drown a fly." Except in the expression of grand, lofty, and sublime thought, the Pure Tone should form the basip of utterance. SECTION IX. ASPIRATE. The aspirate is that quality of voice in which the breath is sent forth from the organs without being con- verted into vocal sound. The whisper is the perfection of the aspirate quality. Like the Pure Tone and Orotund, it has its effusive, expulsive and explosive forms. To acquire control of this quality, practice in a whis- pered tone the elements and words and sentences in wliich the element h predominates. Aspirate, Effusiye Form — First Exercise. 1. e, as heard in me, eve. 2. a, " fate, gray. 3. o, " old, note. 4. u, " use, lute. 5. 00, " moon, food. 6. 1, " ice, fine. Aspirate, Effusive Form — Second Exercise Hope, home, have. House, high, host, heaven, hand, had, heart, hear, h^^ge, hum, think, thrust, thousand. ASPIRATE, EFFUSIVE FOBM. 76 The aspirate, in the effusive form, is the quality ap- propriate for the expression of secret thought^ sup' pressed fear and profound repose. Combined with the orotund, the aspirate intensifies the expression of sublimity, awe, reverence and amaze- ment. It is in this combined form that the aspirate will be of the greatest practical advantage to the general student. Examples : I. Stillness. Aspirate^ Effusive Form. [From " Dying- Eequest." — Mrs. He^nans.} Leave me 1 Thy footstep witli its lightest sound, The very shadow of thy waving liair, Wakes in my soul a feeling too profound, Too strong, for aught that lives and dies to bear ; bid the conflict cease ! 11. Pkofouxd Repose. Aspirate, Effusive Form. [Prom "Stillness of Night."— ^^/row.] All heaven and earth are still, though not in sleep, But breathless, as we grow when feeling most, And silent, as we stand in thoughts too deep ; All heaven and earth are still : from the liigli host Of stars to the lulled lake and mountain coast, All is concentrated in a life intense, "Where not a beam, nor air, nor leaf, is lost, But hath a part of being, and a sense Of that which is of all Creator and Defense. in. Sublimity and Reverence. Aspirate, Orotund, Effusive Form. [From a Eussian Hymn. — Browning.'] Thou breaUiest, and the obedient storm is still ; Thou speakest ; silent the submissive wave : Man's shattered ship the rushing waters fill And the hushed billows roll across his grave. 76 SCIENCE OF ELOCUTION. Sourceless and endless Ood ! Compared to thee. Life is a shadowy, momentary dream ; And time, when viewed through thy eternity, Less than the mote of morning's golden beam. IV. Sublimity and Awe. Aspirate, Orotund, Effusive Form. [From " The Closing Year." — Prentice.] 'Tis midnight's holy hour, and silence now Is brooding, like a gentle spirit, o'er The still and pulseless world. Hark I on the winds The bell's deep tones are swelling — 'tis the knell Of the departed year. No funeral train Is sweeping past ; yet on the stream and wood, "With melancholy light, the moonbeams rest Like a pale, spotless shroud ; the air is stirred As by a mourner's sigh ; and on yon cloud, That floats so still and placidly through heaven, The spirits of the seasons seem to stand — Young Spring, bright Summer, Autumn's solemn form, And Winter with his aged locks, and breathe, In mournful cadences, that come abroad Like the far wind-harp's wild and touching wail, A melancholy dirge o'er the dead year. Gone from the earth forever. Aspirate, Expulsive Form — Exercise. Repeat the elements and words on page 74 in the expulsive form, aspirate quality. The aspirate, in the expulsive form, is the quality appropriate for the expression of sudden fear, alarm and terror. Combined with the orotund, it gives in- tensity to awe and horror. ASPIRATE, EXPULSIVE FORM. 77 ExAiviPLES : I. Alarm ais^d Fear. Aspirate, Expulsive Form. [From " The Battle of Waterloo:''— Byron.} While thronged the citizens with terror dumb, Or whispered with white lips, " The foe ! - They come ! they come I " II. Suppressed Command, Fear. Aspirate J Expulsive Form. [Fr(;m " Military Command.'" — Anon.} Soldiers, you are n(5ses, and then do bloody work, as did your sires at old Thermopylae ! Is Sparta dead ? Is the old Grecian spirit frozen in your veins, that you do crouch and cower like a belabored hound beneath his master's lash ? comrades I warriors 1 Thracians ! if we must fight, let us fight for ourselves! If we must slaughter, let us slaughter our oppressors! If we must die, let it be under the clear sky, by the bright waters, id noble, honorable battle I V. Anger, Scorn, Defiance. Impassioned Force, Aspirate, Pectoral and Guttural Qualities, Expulsivt and Explosive Forms. [From " The Seminole's Defiance.»^ Blaze with your serried columns ! I will not bend the knee ; The shackle ne'er again shall bind tho arm which now is free ! STKESS. 99 Fve mailed it with the thunder when the tempest muttered loWj And where it falls ye well may dread the lightning of its blow. I've scared you in the city ; I've scalped you on the plain ; Gro, count your chosen where they fell beneath my leaden rain 1 I scorn your proffered treaty ; the pale face I defy ; Revenge is stamped upon my spear, and " blood" my battle-cry I Perfect command of every degree of force enables tbe public speaker to readily adapt his tones to tbe senti- ment he expresses, and to the circumstances by which he is surrounded. Expressing pathos, his voice- easily drops to subdued force ; uttering bold and mousing thought, it as readily rises to impassioned force ; in the delivery of didactic thought, it is pleasingly modulated to moderate force ; speaking in a small room, the degree of force is so regu- lated as not to be painful to the hearers ; addressing a vast assembly in the open air, the voice is perfectly audible to the most distant hearer ; speaking under the influence of strong excitement, the intensity of his feel- ings does not hinder his utterance, nor drive him into ranting and vociferation. Such are some of the advantages of perfect command of Force of Voice. Exercises similar to the above not only give vigor and pliancy to the vocal organs, but are invaluable aids to health, cheerfulness, and mental activity. SECTION XVIII. STRESS. Stress is the application of the force of the voice to the diiferent parts of the word or sound. The divisions of stress are Radical, Median, Final, Compound, Thorough, and Intermittent. 100 SCIENCE OF ELOCUTION. SECTION XIX. RADICAL STRESS. Radical stress is the application of the force of the voice to the first part of the word or sound. " The clear and forcible radical stress can take place only after an interruption of the voice." " It would seem as if there is some momentary occlu- sion in the larynx, by which the breath is barred and accumulated for the purpose of a full and sudden dis- charge. This occlusion is most under command, and the explosion is most powerful, on syllables beginning with a tonic element, or with an abrupt one preceding a tonic, for in this last case an obstruction in the organs of articulation is combined with the function of the larynx." To acquire control of this style of stress practice the following elements and words in the Expulsive and Ex- plosive Forms, first with Pure Tone, then with Orotund, in the Moderate, Energetic and Impassioned degree of Force. In this exercise be careful to expend the full force of the voice upon the first part of the word or sound. Radical Stress- -First Exercise, 1. a, as heard in add, fat. 2. e. cc end, met. 3. i, ill, fin. 4. 6, odd, not. 5. ii, us, tub. 6. y, nymph, lyric. 7. a, ale, fate. 8. 6, eve, mete. 9.1, ice, fine. RADICAL STRESS. 101 Radical Steess — Second lExii'Kci:^E- ^ * ' Add, end, orb. all. ease, isle. inch, use, oil, up, on, aid, entire, obey. end. bend, think. live, defy. blaze, rouse. down. slave. round. The radical stress is heard in various degrees. In its milder form it is the stress appropriate for the de- livery of narrative^ descriptive and didactic thought in the style of essays^ lectures and sermons ; in a more en- ergetic form it is appropriate for the utterance of argur mentative speeches and orations ; and in its most im- passioned form for the expression of i?itense feeling and emotion^ as anger^ scorn^ defiance^ etc. Examples : I. N^arrative. Radical Stress, Moderate Force, Pure Tone, Expulsive Form, [From " The Heart's Charity." — Eliza Cook.'] A ricli man walked abroad one day, And a poor man walked the self-same way, Y7hen a pale and starving face came by, With a pallid lip and a hopeless eye ; And that starving face presumed to stand And ask for bread from the rich man's hand. But the rich man sullenly looked askance, With a gathering frown and a doubtful glance ; " I have nothing," said he, "to give to you, Nor any such rogue of a canting crew ;" And he fastened his pocket, and on he went, With his soul untouched and his conscience content. II. Didactic. Radical StresSj Moderate Force, Pure Tone, Expulsive Form, [From " Advice to a Young Lawyer." — Judge Story.'] Whene'er you speak, remember every cause Stands not on eloquence, but stands on laws; 102 SCIENCE OF ELOCUTION. rr<3g^iaat in matter, in expression brief, Let every sentence stand with bold relief; On trifling points nor time nor talents waste, A sad offense to learning and to taste ; Nor deal with pompous phrase, nor e'er suppose • Poetic flights belong to reasoning prose. in. Argumentatiye Speech. Radical Stress, Energetic Force^ Orotund, Expulsive Fo7'm. [From "Barbarity of National Hatreds/'—i^w/ws Choate.'] Mr. President, let me say that, in my judgment, this notion of a national enmity of feeling toward G-reat Britain belongs to a past age of our history. My younger countrymen are unconscious of it. They disavow it. That generation in whose opinions and feelings the ac- tions and the destiny of the next are unfolded, as the tree in the germ, do not at all comprehend your meaning, nor your fears, nor your regrets. "We are born to happier feeling-s. We look to England as we look to France. We look to them from our new world — not unrenowned, yet a new world still — and the blood mounts to our cheeks, our eyes swim, our voices are stifled, with emulousness of so much glory; their trophies will not let us sleep; but there is no hatred at all ; no hatred, no barbarian memory of wrongs, for which brave men have made the last expiation to the brave. lY. Anger, Scoen and Defiance. Badical Stress, Impassioned Force, Aspirate, Orotund, Guttural Quality, Explosive Form. [From " Paradise LosV—dfilton.'] Whence and what art thou, execrable shape I That dar'st, though grim and terrible, advance Thy miscreated front athwart my way To yonder gates ? Through them I mean to pass, That be assured, without leave asked of thee : Retire I or taste thy folly, and learn by proof. Hell-born, Tiot to contend with spirits of heaven. Radical stress is one of the most important properties of utterance. Without it reading and speaking become dull and lifeless. MEDIAN STRESS. 103 The argumentative speaker wlio has not this property at command fails to produce conviction in the minds of his hearers. Dr. Rush says of the Radical Stress: "It is this which draws the cutting edge of words across the ear, and startles even stupor into attention ; this which les • sens the fatigue of listening, and outvoices the stir and rustle of an assembly." Murdoch and Russell say : " The utter absence of radical stress bespeaks timidity and indecision, confu- sion of thought, and feebleness of purpose. " The speaker who fails in regard to the effect of this property of utterance solicits our pity rather than com- mands our respect. The right degree of this function indicates the manly, self-possessed speaker." SECTION XX. MEDIAN STRESS. Median stress is the application of the force of the voice to the middle of the word or sound. It is a gradual increase of force and elevation of pitch through the concrete movement to the middle of the word, and then as gradual a diminution and lowering to the close. Median stress is generally heard in connec- tion with the effusive form. To acquire control of this style of stress practice the following elements and words, beginning each with very subdued force and low pitch, which gradually increase and elevate to the middle, and then as gradually dimin- ish and lower. Median Stress — First Exercise. 1. a, as heard in ale, fate. 2. a, " arm, far. 104 SCIENCE OF ELOCUTION. 3. a. as heard in ask, grass. 4. a, u all, talk. 5. ^) u old, note. 6. 00 moon, food. Median Stress- -Second Exercise. Gray, tolls. day. softly, old, arm. father. palm. oh, more. roll. round, beams, prayer, slow. tread, full, fled. pure, snow. Median is the appropriate stress for the utterance of pathos, solemnity^ sublimity, reverence, grandeur and devotion. It is heard in different degrees, varying with the depth and power of the emotion. Serious, solemn and tranquil thought require only the milder forms of the Median ; while reverence, grandeur, sublimity and devotion require the fullest form. Examples : I. Tranquillity. Median Stress^ Subdued Force^ Pure Tone, Effusive Form. [From " Evening." — Movr.'] 'Tis twilight now : How deep is the tranquillity 1 The trees Are slumbering through their multitude of boughs, Even to the leaflet on the frailest twig ! A twilight gloom pervades the distant hills, An azure softness mingling with the sky. II. Solemnity Median Stress, Subdued Force, Pure Tone, Effusive Form. [From " Death." — Mrs. HemansJ] Leaves have their time to fall, And flowers to wither at the north wind's breath, And stars to set ; but all, Thou hast all seasons for thine own, Death! MEDIAN STRESS. 105 "We know when moons shall wane, When summer birds from far shall cross the sea, When autumn's hue shall tinge the golden grain: But who shall teach us when to look for thee ? III. Sublimity and Grandeur. Median Stress, Moderate and Energetic Force, Orotund, Effusive Form, [From " Ossian's Address to the Sun."" — Macpherson.'] thou that roUest above, round as the shield of my fathers 1 whence are thy beams, sun ! thy everlasting light 1 Thou comest forth in thy awful beauty: the stars hide themselves in the sky; the moon, cold and pale, sinks in the western wave. But thou thyself movest alone : who can be a companion of thy course ? The oaks of the mountain fall; the mountains themselves decay with years ; the ocean sinks and grows again ; the moon herself is lost in the heavens ; but thou art forever the same, rejoicing in the brightness of thy course. When the world is dark with tempests, when thunders roll, and lightnings fly, thou lookest in thy beauty from the clouds, and laugh- est at the storm. But to Ossian thou lookest in vain ; for he beholds thy beams no more, whether thy yellow hair floats on the eastern clouds, or thou tremblest at the gates of the west. But thou art, perhaps, like me, for a season : thy years will have an end. Thou wilt sleep in thy clouds careless of the voice of the morning. lY. Reverence and Adoration. Median Stress, Moderatt and Eui7'getic Force, Orotund, Effusive Form, [From " Morning Hymn in Paradise." — Milton Ji These are thy glorious works, Parent of Good, Almighty I Thine this universal frame, Thus wondrous fair. Thyself how wondrous then I Unspeakable I who sitt'st above these heavens. To us invisible or dimly seen, 'Midst these thy lowest works. Yet these declare thy goodness beyond thought And power divine I 106 SCIENCE OF ELOCUTION. The median stress is one of the greatest beauties in reading. It prevents the drawling and lifeless style so prevalent in the reading of the Bible and the Church service, and gives a most impressive beauty, power and grandeur to the utterance of pathos^ suhlirnity^ reverence^ devotion and adoration. Destitute of its ennobling effect, the reading of many passages in prose and poetry sinks into a monotonous and tedious utterance. It is indispensable to the highest success in Elocution. Carried to excess it becomes a fault. The habit of mouthing, so prevalent on the stage among stock actors, has for one of its principal elements an excessive median stress. Like every element of utterance, it must be ju- diciously used. SECTION XXI. FINAL STRESS. The final stress is the application of the force of the voice to the last part of the word or sound. The force, at first but slight, is gradually increased, until it closes in an abrupt and violent sound. In its effect on the ear it is not unlike the report of a pistol when it hangs fire. To acquire control of this style of stress practice the elements and words as directed. Repeat each of the elements, beginning with a slight sound, which gradually increase, and closo- with an abrupt and forcible sound. Final Stress — First Exercise. 1. e, as heard in me, see. 2. a, " ale, pale. 3. a, " air, fair. 4. a, " father, arm. FINAL STRESS. 6. a, as heard in ask, grass. 6. I, " ice, fine. 1. % " use, tube. Final Stress — Second Exercise. 107 Slave, wretch, coward, great, villainy. revenge. hatred. defiance, birth. sorrows. beasts. •slaves, extreme, rights. bid. push. determined, proceed. fortune, friends. barren, rugged, rock. refuge. Tlie iSnal stress is employed in the expression of de- terminsd purijose^ earnest resolve^ stern rebuke^ contempt^ astonishment^ horror^ revenge^ hate^ and similar passions. It is usuaHy combined with the ExpulsiA^e and Explo- sive Forms of Voice, and; in the expression of passion, with the Aspirate, Pectoral, or Guttural Qualities. Examples : I. Earnest Resolve. Final Stress, Energetic Force, Orotund, Expulsive Form. [From " Supposed Speech of John Adams." — Webster. '] Sir, before G-od, I believe the liour is come. My judgment approves this measure, and my whole heart is in it. All that I have, and all that I am, and all that I hope in this life, I am now ready here to stake upon it ; and I leave off as I began, that, live or die, survive or perish, I am for the declaration. It is my living sentiment, and, by the blessing of G-od, it shall be my dying sentiment ; independence now, and independence forever. II. Determined Purpose. Final Stress, Impassioned Force, Orotund Aspirate Quality, Expulsive and Explosive Forms. [From "Speech on Writs of Assistance."— 6>^i«.] Let the consequences be what they may, I ^ determined to pro- ceed. The only principles of public conduct that are worthy of a 108 SCIENCE OF ELOCUTION. gentleman or a m^ are to sacrifice ease, estate, health, happiness, and even hfe itself, at the sacred caU of his country. III. Stern Rebuke. Final Stress, Impassioned Force^ Orotund Pectoral Qualilnj Expulsive and Explosive Forms. [From "Speech against American War." — Chatham.'] I cannot, my lords, I will not, join in congratulation on misfortune and disgrace. This, my lords, is a perilous and tremendous moment. It is not a time for adulation ; the smoothness of flattery cannot save us in this rugged and awful crisis. It is now necessary to instruct the throne in the language of truth. We must, if possible, dispel the delusion and darkness which enveloj it, and display, in its full dan- ger and genuine colors, the ruin which is brought to our doors. Can ministers still presume to expect support in their infatuation ? Can Parliament be so dead to its dignity and duty as to give their support to measures thus obtruded and forced upon them? Measures, my lords, which have reduced this late flourishing empire to scorn and contempt 1 IV. Mockery, Contempt and Scokn. Final Stress, Impassioned Force, Orotund Pectoral Guttural Quality^ Expulsive and Explosive Forms. [From Queen Constance to the Archduke of Austria. — Shakspeare.] Thou slave 1 thou wretch 1 thou coward 1 Thou little valiant, great in villainy ! Thou ever strong upon the stronger side 1 Thou Fortune's champion, that dost never fight But when her humorous ladyship is by To teach thee safety 1 Y. Deteemusted Stubboen Will. Final Stress, Impassioned Force, Pectoral and Guttural Qualities, Expul- sive and Explosive Forms. [From Shylock's 'Refn&sH.—Shakspeare.'] I'll have my bond ; I will not hear thee speak : I'll have my bond ; and therefore speak no more. I'll not b§ made a soft and dull-eyed fool, To shake the head, relent, and sigh, and yield COMPOUND STRESS. 109 To Christian intercessors. Follow not ; I'll have no speaking 1 I will have my bond. Without the full command of the Final Stress, deter- mined purpose, earnest resolve, manly protest, degener- rates into childish and angry utterance, and the ex- pression of scorn, revenge, and contempt sink to the ridiculous tones of the shrew. In the delivery of lyric and dramatic poetry, in which high-wrought emotion is so frequently found, the Final Stress is an indispensable element of utterance. SECTION XXII. COMPOUND STRESS. Compound stress is the application of the force to the first and last parts of the word,, passing over the inter- mediate parts lightly. Command of this style of stress can be best acquired by practicing words and sentences. Compound Stress — Exercise. Gone, heaven, married, dead, survive, despise, literary, gospel, sermons, people, earnest, history, canopy, traitor, tribune, convicted. The compound is the stress appropriate for the ex- pression of surprise^ contempt^ and mockery^ and some- times of sarcasm and raillery. Examples : I. Extreme Surprise. Compotmd Stress, Energetic Force, Aspirate Pure Tone, Expulsive Farm, [From " Hamlet." — STiakspeare.'] Ham. A bloody deed ; almost as bad, good mother, As kill a king, and marry with his brother. Queen. As kill a king ? 110 SCIENCE OF ELOCUTION. IL Extreme Surpkise. Compound Stress^ Impassioned Force, Aspirate Pure Tone^ Expulsivt Form, [From Queen Constance, when confounded with the intelligence of the union ot Lewis and Blanche, and the consequent injury to her son Arthur. — Sliakspeare.l Gone to be married 1 Gone to swear a peace ! Ealse blood to false blood joined ! Gone to be friends I Shall Lewis have Blanche, and Blanche these provinces? It is not so; thou hast misspoke, misheard; Be well advised, tell o'er thy tale again : It cannot be ; thou dost but say 'tis so. in. Contempt and Mockery. Compound Stress, Impassioned Force, Aspirate Pectoral Orotund, Explo- sive Form. [From " Cataline's Defiance." — Croly."] Banished from Romel What's banished, but set free Erom daily contact of the things I loathe ? " Tried and convicted traitor I " The compound stress gives intensity and energy to the utterance of surprise^ contempt and mockery most impressive in its effect. " The use of this form of stress belongs appropriately to feelings of peculiar force or acuteness ; but on this very account it becomes an in- dispensable means of natural expression and true effect in many passages of reading and speaking. The differ- ence between vivid and dull or flat utterance will often turn on the exactness with which this expressive func- tion of voice is exerted." SECTION xxin. THOROUGH STRESS. Thorough stress is the application of the force of the voice equally to all parts of the word or sound. THOROUGH STRESS. Ill To acquire control of this element of expression prac* tice the elements and words with all the force you can command in the Orotund Expulsive. Thorough Stress — First Exercise. 1. o, as heard in no, go. 2. a, (C ale, pale. 3. a, u arm. , farm. , 4. 1, C( ice, fine Thorough Stress- -Second Exercise. Ale, arm. home, come, lend, send. grave, death, call, fall. all. lawn, seize, spirits. fallen. woe, awake, arise, shout, burn. The thorough stress is appropriately employed in the expression of rapture, joy, exultation, lofty command, indignant emotion, oratorical apostrophe, and virtuous indignation. Examples : I. Triumph and Exultation. Thorough Stress, Impassioned Force, Orotund Quality, Expidsive Form, [From " Sheridan's Eide."— T. S. Bead.] Hurrah ! hurrah for Sheridan ! Hurrah ! hurrah for horse and man ! And when their statues are placed on high, Under the dome of the Union sky, The American soldiers' Temple of Fame, There with the glorious General's name Be it said, in letters both bold and bright : " Here is the steed that saved the day By carrying Sheridan into the fight, Prom Winchester — twenty mites away I " 112 SCIENCE OF ELOCUTION. II. Lofty Command. Thorough St? -ess, Impassioned Force, Orotund, Expulsive Form. [From "Paradise Lost." — Milton.] Princes! potentates! Warriors, the flower of heaven ! once yours, now lost, If such astonishment as this can seize Eternal spirits, Awake ! arise ! or be forever fallen I III. Oeatorical Aposteophe. Thorough Stress^ Impassioned Force, Orotund, Expulsive Form. liberty I sound once delightful to every Roman ear I sacred privilege of Roman citizenship! once sacred, now trampled upon! But what then — is it come to this ? Shall an inferior magistrate, a governor, who holds his power of the Roman people, in a Roman province, within sight of Italy, bind, scourge, torture with fire and ^ red- hot plates of iron, and at last put to the infamous death of the cross, a Roman citizen ? Shall neither the cries of innocence expiring in agony, nor the tears of pitying spectators, nor the majesty of the Roman commonwealth, nor the fear of the justice of his country, re- strain the licentious and wanton cruelty of a monster, who, in confi- dence of his riches, strikes at the root of liberty and sets mankind at defiance ? IV. Vehement Indignation. Thorough Stress, Impassioned Force, Orotund, Expulsive and Explosive Forms. [From "Eebuke of Lord 8vLf^ol\:''-^Chatham.'} These abominable principles, and this more abominable avowal of them, demand the most decisive indignation. I call upon that right reverend and this most learned bench to vindicate the religion of their Grod, to defend and support the justice of their country. I call upon the bishops to interpose the unsullied sanctity of their lawn, upon the judges to interpose the purity of their ermine, to save us from this pollution. I call upon the honor of your lordships to reverence the dignity of your ancestors, and to maintain your own. I call upon the spirit and humanity of my country to vindicate the national character. Thorough stress is one of the most powerful weapons of oratory. Its effect, when judiciously used, is magical INTERMITTENT STRESS. 11 S It rouses the feelings, kindles the emotions, and stirs the very soul of an audience. If employed injudiciously and too frequently it degenerates into rant and vociferation, exciting only disgust and contempt in the mind of every cultivated hearer. SECTION XXTV INTERMITTENT STRESS. The intermittent stress is a tremulous emission of the voice from the organs. To acquire control of this style of stress practice the elements and words with a short, quick, broken ut- terance. Intermittent Stress — First Exercise. 1. e, as heard in me, see. 2. a, " ale, pale. 3. a, " add, sad. 4. a, " talk, all. 5. o, " old, bold. 6. o, " odd, not. Intermittent Stress — Second Exercise. O! die, food. go, old, man. door. your. days, down. store. lost, gone. blow. hold. grave. The intermittent stress is the natural expression of al emotions attended with a weakened condition of the bodily organs, such as feebleness from age^ exhaustion, fatigue, sickness and grief It is also appropriate in the expression of extreme ten -ierness and ecstatic joy. 8 114 SCIENCE OF ELOCUTION. Examples : I. Sickness. Tntermittef^t Stt'ess, Subdued Force, Oral, Aspirate Quality, Effmivi Form. [From "Death of Little Jim." — Anoni] MotheT, the angels do so smile, and beckon little Jim. I have no pain, dear mother, now, but 0, I am so dryl Just moisten poor Jim's lips again, and, mother, don't you cry. II. Feebleness. Intermittent Stress, Moderate Force, Pectoral Quality, Expulsive Form. [From "The Old Man's Eequest." — Thomas Moss.'] Pity the sorrows of a poor old man. Whose trembling limbs have borne him to your door, "Whose days are dwindled to the shortest span ; fiive relief ! and Heaven will bJess your store I III. Age and Exhaustion. Intermittent Stress, Energetic Force, Pectoral and Guttural Quality, JKj> pulsive Form, [From " Death of Baron Eudiger." — Green.l They come around me here, and say My days of life are o'er, That I shall mount my noble steed And lead my band no more ; They come, and to my beard they dare To tell me now that I, Their own liege lord and master born, That I — ha ! ha I — must die ! The intermittent stress gives a vivid and touching expression to utterance, for the absence of which nothing can atone. " Without its appeal to sympathy, and its peculiar power over the heart, many ol the most beau- tiful and touching passages of Shakspeare and Milton become dry and cold," PITCH. 115 SECTION XXV. PITCH. Pitch is the place upon the musical scale on which the sound is uttered. Every sound, whether produced by the vocal organs, or by other means, is found somewhere on this musical scale. Thus we speak of the low notes of the organ, the high notes of the fife ; of the low tones of the male voice, the high tones of the female voice. Excellence in reading and speaking requires so perfect control of the different divisions of pitch that at pleasure the voice can be raised or lowered according to the feel- ing or emotion uttered. The Author of our being has so attuned the sensibili- ties of the soul that certain notes of voice indicate cer- tain emotions. A low. subdued tone heard from an adjoining room suggests devotion ; while a high pitch as naturally sug- gests a joyous conversation or angry dispute. In singing, the divisions of pitch are absolute. Two persons singing the same tune, however widely different their natural pitch of voice, use precisely the same key. In Elocution the divisions of pitch are relative. Two l^ersons may read the same selection on widely different keys, yet each be entirely appropriate. In singing, the key is determined by musical instru- ments, in which there is comparatively little variation. In Elocution the key appropriate for each person ia determined by his own voice. Students of Elocution make no greater mistake than in attempting to regulate their pitch of voice by that of «ome favorite teacher or speaker. 116 SCIENCE OF ELOCUTION. Many teachers of Elocution injure the majority' of their pupils by impressing them with the idea that their peculiar pitch is the only true standard. Not unfrequently do students indicate where they have been educated by their ridiculous efforts to con- form a voice naturally of a high pitch to the low key of their instructor. It cannot be too earnestly impressed upon the minds of pupils that each voice is its own index in pitch. The divisions of Pitch in Elocution are Very High, High, Middle, Low, Yery Low. These divisions should include a compass of at least two octaves, but have no definite position on the musical scale, varying according to the natural key of the different voices. That key upon which each person naturally strikes in ordinary unimpassioued conversation will be his Middle Pitch. This will vary three or five notes. From this Middle Pitch all other divisions are to be determined. The Low Pitch will be three, four, or five notes below the Middle. The Very Low will be two, three, or four notes below the Low ; the range in the lower notes being much less than in the high notes. The High Pitch will be ^ye, six, or eight notes above the Middle ; the Yery High will be five or eight notes above the High. The above arrangement of the divisions of pitch is on the supposition that the compass of voice embraces from two and a half to three octaves. This is perhaps not far from the average, though the compass may be greatly increased by cultivation. It may be well here to remark that a knowledge of music is not essential in the practice of the following exercises, nor indeed to the highest excellence in elocu- tion. It is a significant fact that those who have made PITCH. 117 the highest attainments in reading and speaking have "been very deficient in musical cultivation. Indeed it will be found, by a careful investigation of the subjects, that, though reading and singing are not incompatible, they are by no means mutual helpers. Singing implies the passage of the voice through the discrete movement. Reading and speaking require the passage of the voice through the concrete movement. Persons who sing a great deal, when they attempt to read unconsciously glide into these musical intervals. That which in sing- ing constitutes one of the greatest beauties, namely, the discrete movement, in reading is the chief element of the defect known as tone, or singing-reading. Singing may cultivate the voice, but it is exceedingly questionable if it improves the vocal delivery. Repeat the following elements and words several times, first in a Middle Pitch, then in a Low Pitch, then in a High Pitch, then in a Yery Low, and last in a Yery High Pitch. This exercise may be varied by beginning on a Yery Low Pitch, and, on each repetition, raising the key two or three notes, until all the divisions have been passed over. Pitch — First Exeecise. 1. a, as heard in ale, pale. 2. a, u add, fat 3. a. u air, pair. 4. a. a far, palm. 5. a. u ask, dance, 6. a, <( all, talk. 1. o, .( old, note. «. % C( use, tube. 118 SCIEJSCE OF ELOCUTION". Pitch — Second Exeecise. Old, orb, . fate, find, arm, harm. boat. coat. but, prove. moon. palm, obey, loud, broad, road, deep. dark. ocean. liberty, glorious, mirror, tempest, brand. SECTION XXVI. MIDDLEPITCH. The middle pitch is the appropriate key for the ue- livery of narrative^ didactic and descriptive thought in the form of scientific and literary lectures, introductions to speeches, orations and sermons. Examples : I. Didactic Thought. Middle Fitch, Radical Stress, Moderate Force, Fure Tone, Expulsive Form. [From " Cheerfulness."— -4wt>7i.] There is no one quality that so much attaches man to his fellow- man as cheerfulness. Talents may excite more respect, and virtue more esteem ; but the respect is apt to be distant and the esteem cold. It is far otherwise with cheerfulness. It endears a man to the heart, not the intellect or the imagination. There is a kind of reciprocal diffusiveness about this quality that recommends its possessor by the very effect it produces. There is a mellow radiance in the light \i sheds on all social intercourse which pervades the soul to a depth that the blaze of intellect can never reach, II. Descriptive Thought. Middle Fitch, Radical Stress, Moderate Force, Fure Tone, Fxpulsive Form. [From "A Scene of Ai-ab Life."— ^^o?^.] All that has been related concerning the passion for tales, which distinguishes the Arabs, is literally true. During the night which we MIDDLE PITCH. 119 passed on the shore of the Dead Sea we observed our Bethlehemitea seated around a large fire, with their guns laid near them on the ground, while their horses, fastened to stakes, formed a kind of circle about them. These Arabs, after having taken their coffee, and conversed for some time with great earnestness, and with their usual loquacity, observed a strict silence when the sheik began his tale. We could, by the light of the fire, distinguish his significant gestures, his black beaid, his white teeth, and the various plaits and positions which ho gave to his tunic during the recital. His companions listened to him with the most profound attention ; all of them with their bodies bent forward, and their faces over the flame, alternately sending forth shouts of admiration, and repeating with great emphasis the gestures of the historian. The heads of some few of their horses and camels were occasionally seen elevated above the group, and shadowing, as it were, the picture. "When to these was added a glimpse of the scenery about the Dead Sea and the mountains of Judea, the whole effect was striking and fanciful in the highest degree. III. Narration. Middle Pitchy Radical Stress, Moderate Force, Pure Tone, ExpulsiV6 Form. [From " Life of Ealeigli."— ^^ow.] Raleigh's cheerfulness during his last daj^s was so great, and his fearlessness of death so marked, that the Dean of Westminster, who attended him, wondering at his deportment, reprehended the hghtnesa of his manner. But Raleigh gave God thanks that he had never feared death, for it was but an opinion and an imagination ; and as for the manner of death, he had rather die so than in a burning fever; that some might have made shows outwardly, but he felt the joy within. IV. Introduction to Judicial Speech. Middle Pitchy Radical Stress, Moderate Force, Pure Tone^ Expulsive Foiin. ["Trial of a Murderer." — Webster.'] Against the prisoner at the bar, as an individual, I cannot have the slightest prejudice. I would not do him the smahest injury or injus- tice ; but I do not affect to be indifferent to the discovery and the piuiishment of this deep guilt. I cheerfully share in the opprobrium, how much soever it may be, which is cast on those who feel and 120 SCIENCE OF ELOCUTION. manifest an anxious concern that aU who had a part in planning, or a hand in executing, this deed of midnight assassination, may be brought to answer for their enormous crime at the bar of public justice. SECTION xxvn. LOW PITCH. Low pitch is the key appropriate for the delivery of serious^ solemn^ pathetic^ grave^ devotional^ sublime and grand thought not of an earnest or impassioned char- acter. Examples : I. Solemn Didactic. Lcm Pitchy Radical Stress, Moderate Force, Pure Tone, Expulsive Form, [From " Eeligion the Only Basis of Society." — Channing.'] Few men suspect, perhaps no man comprehends, the extent of the support given by religion to every virtue. No man, perhaps, is aware how much our moral and social sentiments are fed from this fountain ; how powerless conscience would become without the belief of a God ; how palsied would be human benevolence, were there not the sense of a higher benevolence to quicken and sustain it ; how suddenly the whole social fabric would quake, and with what a fearful crash it would sink into hopeless ruin, were the ideas of a Supreme Being, of accountableness, and of a future life, to be utterly erased from every mind. II. Solemn Descriptive. Low Pitch, Median Stress, Moderate Force, Pure Tone, Effusive Form. [From " Isle of Long Ago."] There's a magical isle up the river of Time, "Where the softest of airs are playing ; There's a cloudless sky, and a tropical chme, And a song as sweet as a vesper chime, And the Junes with the roses are straying. And the name of that isle is the Long Ago, And we bury our treasures there ; There are brows of beauty and bosoms of snow ; There are heaps of dust — but we loved them so I There are trinkets and tresses of hair. HIGH PITCH. 121 There are fragments of song that nobody sings, And a part of an infant's prayer ; There's a lute unswept, and a harp without strings, There are broken vows and pieces of rings, And the garments she used to wear. III. Sublimity. Low Pitch, Median Stress, Moderate and Energetic Force, Orotund, Effu sive Form. [From In Memoriam : " Abraham Lincoln." — Mrs. K G. £ugJ)ee.'\ There's a burden of grief on the breezes of spring, And a song of regret from the bird on its wing ; There's a pall on the sunshine and over the flowers, And a shadow of graves on these spirits of ours ; For a star hath gone out from the night of our sky, On whose brightness we gazed as the war-cloud rolled by ; So tranquil and steady and clear were its beams. That they fell like a vision of peace on our dreams. SECTION XXVIII. HIGH PITCH. High pitch is the key appropriate for the delivery of animated., joyous^ gay^ earnest and impassioned thought. Examples: I. Animated. Righ PitcTif Radical Stress, Energetic Force, Pure Tone, Expulsivt Form. pfiom "Paddle Your Own Canoe." — Mrs. Bolton.} Yoyager upon life's sea, To yourself be true ; And where'er your lot may be, Paddle your own canoe. Never, though the winds may rave, Falter nor look back. But upon the darkest wave Leave a shining track. 122 SCIENCE OF ELOCUTIOJS". Nobly dare the wildest storm, Stem the hardest gale ; Brave of heart and strong of arm, You will never fail. "When the world is cold and dark, Keep an end in view, And toward the beacon mark Paddle your own canoe. n. Joy. High Piiih, Radical Stress, Energetic Force, Pure Tone, Expulsive arid Explosive For 7ns. [From " Voice of Spring."— Jfcfrs. ffeman*.'] I come ! I come 1 ye have called me long : I come o'er the mountains with light and song. Ye may trace my step o'er the wakening earth, By the winds which tell of the violet's birth, By the primrose stars in the shadowy grass, By the green leaves opening as I pass. From the streams and founts I have loosed the cham ; They are sweeping on to the silvery main ; They are flashing down from the mountain brows; They are flinging spray o'er. the forest-boughs; They are bursting fresh from their sparry caves, And the earth resounds with the joy of waves. III. Impassioned Oratorical. Bigh Fitch, Radical Stress, Impassioned Force, Orotund, Expulsive and Exp)losive Forms. [From Speech in Virginia Convention. — Patrick JTetiry,] Sir, we are not weak if we make a proper use of those means which the God of nature hath placed in our power. Three millions of people, armed in the holy cause of libf.'rty, and in such a country as that which we possess, are invincible by any force which our ene- my can send against us. Besides, sir, we shall not fight our battles alone. There is a just God who presides over the destinies of nations, and who will raise up friends to fight our battles for us. The battle, sir, is not to the strong alone; it- is to the vigilant, the active, the brave. Besides, sir, :v^^e have no election. If we were base enough to desire it, it is now too late to retire from the contest. There is no retreat but in submission and slavery. Our chains are forged. Their VERY LOW PITCH. 123 clanking may be heard on the plains of Boston. The wai is inevita- ble, and let it come I I repeat it, sir, let it come ! It is in vain, sir, to extenuate the matter. Gentlemen may cry Peace 1 peace I but there is no peace. The war is actually begun 1 The next gale that sweeps from the North will bring to our ears the clash of resounding arms 1 Our brethren are already in the field I Why stand we here idle ? What is it that gentlemen wish ? What would they have ? Is life so dear, or peace so sweet, as to be pur- chased at the price of chains and slavery ? Forbid it, Almighty Grod ! I know not what course others may take ; but as for me, give me liberty, or give me death I lY. Impassioned Poetky. High, Pitchy Thorough Stress, Impassioned Force, Orotund^ Expulsive Form. [From "Sheridan's Fade."— 71 B. Read.'] Under his spurning feet, the road Like an arrowy Alpine river flowed, And the landscape sped away behind, Like an ocean flying before the wind; And the steed, like a bark fed with furnace ire, Swept on, with his wild eye full of fire. But lo 1 he is nearing his heart's desire ; He is snufi&ng the smoke of the roaring fray, With Sheridan only five miles away. SECTION XXIX. VERY LOW PITCH. Very low pitch is the key appropriate for the expres- eion of deep solemnity when mingled with aioe., sublimity^ grandeur^ amazement^ horror^ despair^ melancholy and gloom. Examples: I. Solemnity and Sublimity. Very Low Fitch, Median Stress, Energetic Force, Orotund Effusive Form. [From " Apostrophe to the Ocean." — Byron.'] Eoll on, thou deep and dark blue ocean, roll 1 Ten thousand fleets sweep over thee in vain! Man marks the earth with ruin — his control Stops with the shore; upon the watery plain 124 SCIENCE OF ELOCUTION". The wrecks are all thy deed, nor doth remain A shadow of man's ravage, save his own, When for a moment, like a drop of rain. He sinks into thy depths with bubbling groan, "Without a grave, unknelled, uncoffined, and unknown. II. Solemnity, Sublimity and Awe. Very Low Pitch, Median Stress, Energetic Force, Orotund, Aspirate, Effusive Form. [From " Cato's Soliloquy." — Addison.'] It must be so ; Plato, thou reasonest well I Else whence this pleasing hope, this fond desire, This longing after immortality ? Or whence this secret dread and inward horror Of falling into nought ? Why shrinks the soul Back on herself, and startles at destruction ? 'Tis the Divinity that stirs within us : 'Tis Heaven itself that points out an hereafter. And intimates Eternity to man. Eternity 1 thou pleasing, dreadful thought 1 Through what variety of untried being. Through what new scenes and changes must we pass ! The wide, th' unbounded prospect lies before me ; But shadows, clouds and darkness rest upon it. III. Awe, Dismay and Despair. Very Low Pitch, Median Stress, Energetic Force, Orotund, Aspirate- Pectoral, Effusive Form. [From " The Pestilence."— Poz-^^t^.] At dead of night, In suUen silence stalks forth Pestilenee : Contagion, close behind, taints all her steps With poisonous dew : no smiting hand ia seen j No sound is heard ; but soon her secret path Is marked with desolation : heaps on heaps Promiscuous drop. No friend, no refuge near: All, all is false and treacherous around. All that they touch, or taste, or breathe, is Death. VERY HIGH PITCH. 125 TV, Solemnity and Awe. Very Low Fitch, Median Stress, Energetic Force, Orotund^ Aspirate Fectoral, Effusive Form. [From "Marco Bozzaris." — Ilalleck.'] Come to the bridal chamber, Death I Come to the mother when she feels For the first time her first-born's breath; Come when the blessed seals Which close the pestilence are broke, And crowded cities wail its stroke ; Come in consumption's ghastly form, The earthquake shock, the ocean storm ; (;ome when the heart beats high and warm, With banquet-song, and dance, and wine, And thou art terrible : the tear. The groan, the knell, the pall, the bier, And all we know, or dream, or fear Of agony are thine. But to the hero, when his sword Has won the battle for the free. Thy voice sounds like a prophet's word. And in its hollow tones are heard The thanks of millions yet to be. SECTION XXX. VERY HIGH PITCH. Very high pitch is the key appropriate for the expres- sion of ecstatic j 07/, rapturous delight, impassioned shout- ing, calling and commanding. Examples : I. Ecstatic Joy. Very Uig% Fitch, Thm^ough Stress, Impassioned Force, Pure Tone. E?' pulsive Form. [From " Song of Valkrieur." — Mrs. ffemarcs.} Lo, the mighty sun looks forth! Arm, thou leader of the north I Lo, the mists of twilight fly — We must vanish, thou must die I 126 SCIENCE OF ELOCUTION. By the sword, and by the spear, By the hand that knows not fear, Sea-king, nobly shalt thou fall I There is joy in Odin's hall I 11. Shouting. Tery High Pitchy Tfiorough Stress, Impassioned Force, Pure Tone^ Exr pulsive Form. [From " Prisoner for Debt" — Whittier.l Go, ring the bells, and fire the guns, And fling the starry banner out ; Shout " freedom " till your lisping ones Give back their cradle-shout ; Let boasted eloquence declaim Of honor, liberty, and fame ; Still let the poet's strain be heard, With " glory " for each second word, And every thing with breath agree To praise " our glorious liberty." III. Impassioned Command. Very High Fitch, TJiorough Stress, Impassioned Force, Pure Tone, Fh pulsive Form. [From " Life Boat."— ^wcw.] Quick I man the life-boat ! See yon bark That drives before the blast I There's a rock ahead, the night is dark, And the storm comes thick and fast. Can human power, in such an hour, Avert the doom that's o'er her ? Her mainmast's gone, but she still drives on To the fatal reef before her. The life-boat ! Man the life-boat 1 The ability to control tlie pitch of voice is one of the greatest accomplishments in Elocution. Without the power of readily accommodating the voice to the key demanded by the emotion, there can be no such thing as natural and impressive reading or speaking. MOVEMENT OF VOICE. 127 More public speakers fail from inability to control pitch than from any other cause. Instances are numer- ous of public speakers who, after the deUvery of a few introductory sentences, allow the voice to rise an octave above the key demanded by the sentiment, and upon this unpleasant tone, without a change of more than one or two notes, speak for an hour at a time. No one would listen willingly to a tune constructed with a change of only two or three notes. As in music, so in Elocution, a constant change in pitch is demanded. In speaking not only does each separate word and syl- lable require a slight change in pitch, but often wide transitions are necessary to properly express the ever- varying sentiment. Upon the different divisions of pitch all the previous attributes should be practiced. SECTION XXXI. MOVEMENT OF VOICE. Movement of voice is the rate with which words are uttered in continuous discourse. The different rates of movement may be indicated by the terms Very Rapid, Rapid, Moderate, Slow, Very Slow. Appropriate utterance demands control of every degree of movement from the slowest to the most rapid. To acquire this power practice the following sentences, first in a moderate, then in a rapid, then in a slow, then in a very rapid, and lastly, in a very slow movement, 1. Now came still evening on. 2. Now fades the glimmering landscape from the sight. 3. O'er all the peaceful world the smile of heaven shall lie. 128 SCIENCE OF ELOCUTION. 4. "Wheel the wild dance till the morning break. 5. Haste thee, nymph, and bring with thee mirth and youthful jollity. 6. Now set the teeth and stretch the nostrils wide. 7. Here it comes sparkling, And there it lies darkling; Now smoking and frothing, Its tumult and wrath in, Till in this rapid race On which it is bent, It reaches the place Of its steep descent. SECTION xxxn. MODERATE MOVEMENT, Moderate movement is appropriate for the delivery of narrative^ didactic and unimpassioned thought in the form of scientific and literary lectures and introductions to speeches. Examples : I. Simple Narration. Moderate Movement^ Middle Pitchy Radical Stress, Moderate Force^ Pure Tone, Expidsive Form. [From " Destruction of Carthage." — Anon.} The city and republic of Carthage were destroyed by the termina- tion of the third Punic war, about one huudred and fifty years before Christ. The city was in flames during seventeen days, and the news of its destruction caused the greatest joy at Rome. The Roman Sen- ate immediately appointed commissioners, not only to raze the walla of Carthage, but even to demolish and burn the very materials of which they were made, and in a few days that city, which had once been the seat of commerce, the model of magnificence, the common storehouse of the wealth of nations, and one of the most powerful citates in the world, left behind no trace of its splendor, of its power, or even of its existence. The history of Carthage is one of the many proofs that we have of the transient nature of worldly glory, for of all her grandeur not a wreck remains. Her own walls, like the calm ocean that conceals forever the riches hid in its unsearchable abyss, now obscure all her magnificence. MODERATE MOVEMENT. 129 II. Desceiptiye. MoJ^ate Movement, Middle Pitch, Radical Stress, Moderate Force, Pv/re Tone, Expulsive Form. [From "Aspect of Egypt.'' — Addison."] There cannot be a finer sight than Egypt at two seasons of the year ; for if we ascend one of the pyramids in the months of July and August we behold, in the swollen waters of the Nile, a vast sea, in which numberless towns and villages appear, with several causeways leading from place to place, the whole interspersed with groves and fruit-trees, whose tops only are visible — all which forms a delightful prospect. This view is bounded by mountains and woods, which ter- minate, at the utmost distance the eye can discover, the most beauti- ful horizon that can be imagined. In winter, on the contrary, that is to say, in the months of January and February, the whole country is like one continuous scene of beautiful meadows, whose verdure, en- ameled with flowers, charms the eye. The spectator beholds on every side flocks and herds dispersed over all the plains, with infinite num- bers of husbandmen and gardeners. The air is then perfumed by the great quantity of blossoms on the orange, lemon, and other trees, and is so pure that a wholesome or more agreeable is not to be found in the world, so that nature being then dead, as it were, in all other climates, seems to be alive only for so dehghtful an abode. III. Introduction to Legal Speech. Moderate Movement, Middle Pitch, Radical Stress, Moderate Force, Pure Tone, Expulsive Form. [From " Eeply to Wickham in Burr's Trial." — Wirt.] In proceeding to answer the argument of the gentleman I will treat him with candor. If I misrepresent him it will not be intentionally. I will not follow the example which he has set me on a very recent occasion. I will endeavor to meet the gentleman's propositions in their full force, and to answer them fairly. I will not, as I am ad- vancing toward them, with my mind's eye measure the height, breadth and power of the proposition. If I find it beyond my strength, halve it ; if still beyond my strength, quarter it ; if still necessary, subdivide it into eighths ; and when, by this process, I have reduced it to the proper standard, take one of these sections and toss it with an air of elephantine strength and superiority. If I find myself capable of conducting, by a fair course of reasoning, any one of his propositions to an absurd conclusion, I will not begin by stating that absurd conclusion 9 130 SCIENCE OF ELOCUTION. as tho proposition itself which I am going to encounter. I will not, fn commenting on the gentleman's authorities, thank the gentleman with Barcastic poUteness for introducing them, declare that they conclude di- rectly against him, read just so much of the authority as serves the pur- pose of that declaration, omitting that which contains the true point of the case, which makes against me ; nor, if forced by a direct call to read that part also, will I content myself by running over it as rapidly and in- articulately as I can, throw down the book with a theatrical air, and ex- claim, " Tust as I said 1 " when I know it is just as I had not said. SECTION XXXIII. SLOWMOVEMENT. Slow movement is appropriate for the expression oi solemn^ serious^ grave and devotional thought. Examples : I. Solem:?^ and Serious Thought. Slfm Movement^ Low Pitchy Median Stress^ Subdued Force^ Pure Tom Effusive Form. [From "Mountains of Life." — Cflarh.l There's a land far away, 'mid the stars, we are told, Where they know not the sorrows of time ; "Where the pure waters wander through valleys of gold, And Hfe is a treasure sublime ; 'Tis the land of our God, 'tis the home of the soul, Where the ages of splendor eternally roll ; Where the way-weary traveler reaches his goal, On the ever-green Mountains of Life. IT. Graye Didactic. Slow Movement^ Low Pitchy Radical Stress, Moderate Force, Pure Ton