ELOCUTION
VOICE&GESTURE
GAF^F(Y
\J I
Crown Svo., 264 pp., Cloth bound, 2s.
GARRY'S ELOCUTIONIST
SELECTIONS IN PROSE AND VERSE,
ADAPTED FOR RECITATION AND READING,
EDITED, WITH INTRODUCTION, BY
RUPERT GARRY, F.S.L.A.,
Teacher of Elocution and Dramatic Art.
HH
MARCUS WARD & Co., ORIEL HOUSE, FAKKINGDON STREET .,
LONDON, E.C.
IN PREPARATION.
THE
ANNOTATED PRAYER BOOK:
CONTAINING FULL INSTRUCTIONS
FOR THE PROPER READING OF THE LITURGY.
BY RUPERT GARRY, F.S.L.A.
PRICE 2s. Crown 8vo, cloth, pp. xvi., 248.
GARRY'S ELOCUTIONIST
SELECTIONS IN PROSE AND VERSE ADAPTED
FOR RECITATION AND READING
EDITED, WITH INTRODUCTION, BY
RUPERT GARRY, F.S.L.A,
AUTHOR OF "ELOCUTION, VOICB AND GESTURE."
'To try thy eloquence, now 'tis time."
ANTONY AND CLEOPATRA.
MARCUS WARD & Co., LIMITED
ORIEL HOUSE, FARRINGDON STREET, LONDON, E.G.
AND AT BELFAST AND NEW YORK
[All Rights Reserved}
In Preparation^ by the same Author.
THE ANNOTATED PRAYER BOOK:
Containing full instructions for the Proper Reading of the Liturgy.
MR. GARRY
GIVES PRIVATE LESSONS IN
ELOCUTION, DRAMATIC READING
AND GESTURE (based on the Delsarte System),
at his Residence, 49, TORRINGTON SQUARE, LONDON, W.C.
INSTRUCTOR IN ELOCUTION
AT THE EALING LADIES COLLEGE;
COMBER HOUSE, LEAMINGTON;
ETC., ETC.
'CARRY'S ELOCUTIONIST." Price 2s. Crown 8vo, cloth,
pp. xvi., 248.
PREFACE.
THE success of my work Elocution, Voice and Gesture
has induced me to publish a collection of Recitations. It
has been my object to produce a book which not only com-
prises the best of those recitations which will always remain
popular on account of their own intrinsic value, but also in-
cludes many that are new and unhackneyed. Several pieces
have been included as being specially adapted to drawing-rooms,
where only the shorter and brighter pieces are admissible. So
desirous have I been of rendering the collection as good as
possible, that I have not hesitated to pay both for original
pieces, and for the right of including copyright pieces; and
there has thus been no lack of effort on my part to bring
within the covers of my book the best and brightest work,
adapted to the purpose, from the pages of latter-day literature.
To those authors and publishers who have so kindly per-
mitted me to use pieces, the copyright of which is still vested
in them, I beg to return my best thanks. And if any other
copyright pieces have been included, this has been solely due
to my not having known the address of the author or the name-'
of the publisher.
49, TORRINGTON SQUARE, LONDON, W.C.,
October, 1888.
INTRODUCTION.
WHAT may be called the mechanics of Elocution was so
fully explained in Elocution, Voice and Gesture, that in a
work like this it will be unnecessary to do more than make a
few general suggestions, for the special use of reciters.
To state what the word Elocution means is very simple.
It literally means speaking out, or speaking distinctly. But
Elocution as an Art means the delivering written or spoken
language clearly, audibly, distinctly and correctly, with appro-
priate and suitable modulations, inflections and tones of the
voice. Considering how universal education of a certain kind
is becoming, and what a monetary value is placed upon it, one
would suppose that nearly all the young, of both sexes, would
be taught the elements of such an education. Yet the number
of those who can read properly is comparatively small. "No
possible defect, either of the vocal organs or the intelligence, is
sufficient," says the Rev. Prof. Porter, author of Lectures on
Eloquence and Style, "to account for the wretched habits of
reading which are almost universal. The fact must be ascribed
chiefly to the inadequate, and too often ignorant views on the
subject entertained by those to whom is entrusted the educa-
tion of the rising generation." As an able writer in Chambers'*
Journal lately wrote : " Few schoolmasters give much atten-
tion to Elocution. The vast number of boys and girls are
merely expected to read their lessons, or repeat their verses,
intelligibly not intelligently ; no art, no expression of feeling
and interest, is looked for from them. They are not taught to
read to make a proper use of their voices ; the ear is given no
critical training. . . . Such elegances as these, we are told,
the schoolmaster has no leisure to cultivate, or the scholar
time to study ; and the consequent neglect of such is the cause
of much annoyance and bitterness in after days. How few of
us there are who can read aloud, and afford any real pleasure
to ourselves or our audience !"
Garry s Elocutionist.
Can we wonder, therefore, that complaints as to the bad
reading in schools of all grades, from the lowest to the highest,
occupy so much of the space in the reports of the various
school inspectors?* But these defects arc also to be found in
schools of a much higher grade. Just before the summer
holidays of this year, I was present at the prize-givings of three
high-class schools one a ladies' school and on each occasion
there were recitations certainly a curious commentary on the
almost stereotyped answer of head-masters, that they have no
time "for that sort of thing.' 1 I can unhesitatingly assert that,
in almost every instance, the recitations were characterised by
a sing-song monotony, or an unintelligent phrasing, or an in-
expressive delivery, and occasionally by an incorrect pronunci-
ation. Is it to be wondered at that, as they grow older, these
faults are intensified, until slovenly speaking becomes the rule?
"To read," says the immortal Dogberry, "comes by
Nature." To read that is, to vocalise the words before us
is not difficult, the most ignorant ploughboy being capable of
that, as soon as he knows his letters ; but to read and speak
well, " with proper emphasis and discretion, with good taste,
and even a certain amount of melody and grace of style, is a
very different thing, and requires study, discipline, care, and
the cultivation of the ear and vocal organs for a ready appreci-
ation and execution of tone." If we keep these requirements
before us constantly and carefully, and put them into practice
on every occasion, there is nothing to prevent any person
becoming a reader to whom it is a pleasure to listen.
* In the final report (June, 1888) of the Commissioners appointed to
enquire into the Elementary Education Acts, signed by such men as Cardinal
Manning, the Bishop of London, the Right Kon. A. J. Mundella, F.R.S.;
Sir John Lubbock, Bt., D.C.L.; Sir Francis Sandford, LL.D.; Rev. Canon
Gregory, Rev. R. W. Dale, D.D., LL.D, &c., the following statements
are made : " We find much complaint as to the quality of the reading.
Its chief fault is that it is too mechanical and unintelligent, so that,"
according to Mr. E. Morris, Headmaster of the British School, Anglesea,
"the pupils get to hate their books. . . . We are told," according
to Mr. Mark Wilks, London School Board, "that the children are kept
too long at mere unintelligent mechanical reading." Teachers, according
to Mr. Fitch, H.M. Chief Inspector of Training Colleges for School-
mistresses, fail "to attend to expression." "Looked at from all sides, it
is plain there is room for much improvement in reading. Good reading is,
at the present time, often sacrificed to instruction in spelling . . . which
is learnt most surely, and often unconsciously, by the practice of reading."
Introduction.
Professor Seeley, Professor of Modern History at Cambridge
University, in a lecture delivered at the Royal Institution,
insists upon the great importance of Elocution: "The first
thing is, that boys should be taught to read well. By that I do
not mean correctly merely, but distinctly and expressively. In
short, they should be taught Elocution. It is more than a
hundred years since Bishop Berkeley propounded the question,
whether half the learning and talent in England were not lost
because Elocution was not taught in schools and colleges?
This same question might be repeated now; and it is not
merely for its practical use in after life to those whose
profession demands public speaking, that I desire to see Elo-
cution made a part of education, but because I think that by
that means, more than any other, may be evoked in the minds
of the young a taste for poetry and eloquence. This taste is
really very universal ; generally, where it appears wanting, it is
only dormant ; and it is dormant because no means have ever
been taken to cultivate the sense of rhythm, and to make the
delightfulness of speech understood." This is endorsed by the
late head-master of a large school in the City of London :- -
" There can be no better means for developing and storing the
mind with a choice vocabulary than the practice of recitation,
which, while it softens and refines the feelings, raises, by the
study of the masterpieces of our literature, the general tone of
the mind and of our thoughts; makes us familiar with the
beauties of our language, and brings us into direct converse
with some of the best and greatest men of all times."
Another benefit to be derived from the practice of reciting
is mentioned by the late Sir Henry Holland, M.D., F.R.S. :
" It might be well, indeed, were the practice of distinct recita-
tion (such as implies a certain effort of the organs beyond that
of ordinary speech) more generally used in early life, and con-
tinued as a habit and exercise by those especially whose chests
are weak, and who cannot sustain stronger exertions. If
caution be duly used as to posture, articulation, and the
avoidance of all excess, these exercises of the voice may be
rendered as salutary to the organs of respiration as they are
agreeable in their influence on the ordinary voice. The
common course of education is much at fault in this respect.
If some small part of the time given to crowding facts upon the
mind, not yet prepared to receive or retain them, were employed
Garry's Elocutionist.
in fashioning and improving the organs of speech, under good
tuition, and with suitable subjects for recitation, both body and
mind would often gain materially by the substitution."
The requisites of a good delivery are the clear enunciation
of the separate words and their elements ; the proper expression
of the sense of the words in connected discourse ; and appro-
priate gesture, in which are included the attitude, the motions
of the body, head, or arms, and the aspect of the countenance
most suitable to lending animation and force to the words
uttered.
The first requisite, then, is articulation, or the giving a full
and distinct utterance to the several simple and complex
sounds produced by the vocal organs. Articulation involves
four essentials- correctness, distinctness, ease and elegance.
Each syllable in every word must have its due proportion of
sound, according to the most approved mode of pronouncing it,
and that is, according to the practice in use among well-
educated and well-bred people, who are sure to have no vulgar-
isms, or false and vicious provincialisms of accent. Professor
J. P. Mahaffy of Trinity College, Dublin, in his most interest-
ing and suggestive work, The Art of Conversation^ says : " The
presence of a strong local accent is usually a hindrance to
conversation. It marks a man as provincial, and suggests that
the speaker has not moved much about the world, or even in the
best society of his native country, in which such provincialism
is carefully avoided, and set down as an index of mind and
manners below the highest level. Hence all careful educators
endeavour to eradicate peculiarities of accent or pronunciation."
But while a perfect pronunciation is most essential, and should
be most sedulously aimed at, to prescribe rules for acquiring it
is absurd and useless, and is more than likely to produce a
pedantic style of speaking which is specially irritating. No one
ever learnt correct pronunciation from committing to memory
lists of rules or of words. Modesty, so as to recognise one's
failings, confidence in the ability of a teacher, and patience
and practice, are the only possible means of acquiring a correct
pronunciation. An excellent plan is, to closely observe the
pronunciation of educated people, and if you notice that they
pronounce a word in a manner to which you have been un-
accustomed, note it down, and afterwards look it up in some
standard dictionary the one edited by A. Findlater, LL.D.,
Introduction.
and published by W. & R. Chambers, is a thoroughly reliable
one ; and even when getting your lessons from a teacher, don't
hesitate to check his corrections, if he makes any, in the same
manner. If he deprecates this, and if his corrections are, as a
rule, found to be wrong, the pupil ought to bid him an
eternal farewell. The " teaching " of such persons is not only
absolutely worthless, but also absolutely injurious. You must,
however, not be satisfied with merely looking up the word, but
you must go over it carefully, until you can instinctively and
without thought pronounce it aright.
The Cultivation of a distinct and perfect articulation really
benefits the speaker most, inasmuch as it enables him to dis-
pense with mere loudness, which would not only exhaust his
own strength, but also annoy the ears of his auditors. In time,
he would also acquire a habit of shouting. To correct imper-
fect articulation, read aloud, for a time, very carefully and very
slowly. Rapidity of utterance is destructive of distinctness. It
is also destructive of expression, by rendering the use of
emphasis, tones and pauses impossible. In aiming at a distinct
articulation, care, however, must be taken not to form one that
is measured and pedantic, giving undue stress to particles and
unaccented syllables.
After distinct articulation and correct pronunciation comes
Expression, which has been called the soul of oratory; for
without it all reading, speaking, or reciting is soulless and un-
intelligent. Expression depends primarily upon a due attention
to four points Inflection, Modulation, Emphasis, Pause.
By Inflections the proper use, or the want of which marks
the good and intelligent reader from the uneducated or ill-
taught reader are meant not the loudness or softness of the
voice, but simply the upward or downward slides of the voice
from one key to another. Many persons seem to consider
inflections as beneath their notice, reading with a happy in-
difference to the sense, and thus very often absolutely distorting
the sense. Thus, in the speech of Portia, in Addison's Cato :
" Remember what our father oft has taught us :
The ways of heaven are dark and intricate ;
Puzzled in mazes and perplexed with errors,
Our understanding traces them in vain,
Lost and bewildered in the fruitless search.' 1 '
Now, many reciters, who have been taught that the last word of
Garry's Elocutionist.
every sentence should be heard, seem to consider it necessary
to slide up their voice at the end of the sentence. And con-
sequently I have heard the above lines read with the rising
inflection on "intricate," thereby charging the ways of heaven
with being "puzzled" and full of "errors."
Modulation is the art of harmonious expression. It is the
passing from one key to another, and marks changes of senti-
ment, changes in the train of thought, and parenthetical
clauses. To acquire modulation, and get rid of a monotonous
style of reading, you should practise reading conversational dia-
logues and dramatic scenes. Even the least perceptive person
will understand that the voice must be modulated to suit the
different characters.
The next point to be noted is Emphasis, without observing
and using which no one can properly impress on the minds of
his hearers what he has to say. It means the marking by the
voice such words as are to be considered the most important.
This may be produced in different ways by an increase of
force on the word, i.e., by an extra use of the lungs ; by
variation of tone ; by varying the time in the enunciation of
the words; or by any two or all of these together "The
necessity of observing emphasis," says Sheridan, "is so great,
that the true meaning of words cannot be conveyed without it.
For the same individual words, ranged in the same order, may
have several different meanings according to the placing of the
emphasis." The meaning of a passage controls its emphasis, as,
reciprocally, the emphasis develops its meaning. Now, the
first difficulty that faces a reader is which is the most impor-
tant word, and how are we to distinguish it from the others,
especially where more than one may appear to be equally
emphatic. A correct emphasis depends entirely on the intel-
ligence of the reader, for not only must the right words be
emphasized, but the wrong ones must not be emphasized ; and
you must never give equal emphasis to all the words, for this
would result in as much monotony as not emphasizing at all.
The influence of wrong emphasis in perverting the meaning
of a passage, or even giving an entirely wrong and ridiculous
meaning to it, might be illustrated by a variety of examples.
One will suffice. A curate, on reading the words, "And he
said unto his sons, Saddle me the ass, so they saddled him,"
was remonstrated with by his rector, who pointed out that
Introduction.
the word ass was the one on which the emphasis should be
placed. Accordingly, on the next occasion of reading the
passage, the curate, not forgetful of his rector's remonstrance,
and resolving not only to place the emphasis correctly, but to
add another emphasis, in order to make his new rendering more
expressive, read it thus " Saddle me the ass, so they saddled
him" Here the emphasis places the saddle upon the prophet
instead of upon the ass.
From these remarks on the subject of Emphasis, you will
see the proper use of it in reading. If a reader apprehends,
clearly and intelligently, what he is reading, he cannot well
fail to discover at any rate what are the most emphatic words ;
though to find out all the emphatic words, and give each its
due proportion, is a matter of study and practice.
But emphasis that is, laying special stress on certain
words, which in a long speech would become wearisome to the
speaker can be very often avoided by the use of Pauses, the
proper use of which is one of the essential principles of
elocution.
Pauses are of two kinds grammatical and rhetorical ; or
what may be termed visible and audible punctuation. A system
of punctuation may be perfectly sufficient for the purposes of
grammar, that is, for the actual meaning of the words though
no two people punctuate exactly alike and yet, at the same
time, it may afford a very imperfect guide to the fuller meaning
of the sentiment. Grammatical pauses, such as commas,
colons, &c., refer to the construction of the sentence, and are
addressed to the eye of the reader. Rhetorical pauses are
addressed to the sense and the understanding. They are
equally necessary to the speaker and to the hearer to the
former, that he may take breath, and keep the lungs well filled
with air ; to the latter, both that his ear may be relieved from
the fatigue which it would otherwise endure from a continuity
of sound, and also that his understanding may have sufficient
time to mark the meaning of what is being uttered. " Pauses
in discourse," says Sheridan, "answer the same ends that
shadows do in pictures ; by the proper use of which the objects
stand out distinctly to the eye ; and without which, were the
colours to run into one another, it would be difficult to
discriminate the several figures of the composition."
Having mastered the principles, or the mechanics of Elo-
Garry's Elocutionist.
cution, I will assume that you are anxious to get up a piece for
the purpose of reciting it. What must you do ? The answer
from ninety-nine out of a hundred comes clearly, emphatically
and unhesitatingly "Get it by heart." Would you be sur-
prised to hear that this is the last link in the chain ? That this
is the guiding principle of the great majority of reciters is self-
evident ; but if they claim to study their pieces, I must believe
them, though my belief must be extended to them at the
expense of their intelligence. The following is the plan which
is the most proper, the most rational, the most respectful to the
audience, and the one most likely to imprint the piece on the
memory. First, you must read it carefully to see what it is about.
Next, you must read it over several times in order to get at the
author's meaning. Read slowly, and at the end of each
sentence ask yourself what the author meant to convey to the
minds of his hearers. And this is not quite so easy as you may
imagine, for very often the use of a proper emphasis or pause
may reveal a meaning which you had not at first recognised.
Then, you must read it aloud, by which means you will very
often find that you have completely mistaken the meaning,
until your ear tells you how it should be read. Reading aloud
gives the power of analysing more than. mere silent reading.
Unless you apprehend clearly the author's meaning, you cannot
possibly interpret his thoughts to your hearers. You must
practise this persistently, because, while you may stop and
ponder over a sentence when reading it silently by yourself,
you cannot do this when reading aloud to others ; and no one
can be called a good reader who cannot take up any ordinary
book, or a newspaper, and read it off at sight intelligibly,
intelligently, and expressively. It is not sufficient to read
intelligently that is, you must not rest satisfied with making
your hearers understand you ; but you must also read in such
a manner that they may find a certain pleasure in listening
to you.
You must try to imagine that the thoughts embodied in the
words you are uttering are your own, and then ask yourself how
you would express them if they were really your own. Try to
fancy that the things of which you are reading had happened
to yourself, or as l if you were the real narrator, and not simply
the medium for the thoughts and words of another. I say
this, because it happens so often that one person may have
Introduction.
distinct styles of talking and of reading. The talk is natural
and correct ; but the moment reading is commenced, a stilted,
or ungraceful, or monotonous, or sing-song style is assumed,
with frequent mistakes as to inflections, &c., and with a wrong
use of the voice. Try to infuse into your voice something of
the ideas you are uttering. Unless you do this, you are failing
to perform your duty of interpreter between the author and
your hearer, and you will, in so far, fail to achieve the object
and purpose of your art. Without this, the most perfect reading
with clear articulation, correct pronunciation, accurate inflec-
tions, &c. is simply mechanical.
Then, but not till then, ought you to learn it by heart.
You will, moreover, find how much shorter a time is required
to commit a piece to memory by adopting this method, and
how much better a hold you have of it afterwards.
With regard to Gesture, I will only say a few words, as it
cannot possibly be taught except viva voce. No study of any
number of engravings will suffice. The difficulty is to explain
on paper why or how such positions and attitudes should be
arrived at. This can only be done by visible demonstration on
the part of a teacher. Of course, I am here speaking only of
appropriate gesture, not of the unmeaning gesticulation which
is the only thing usually indulged in. As Austin, in his
Chiromania, says "The charge which is sometimes made
against public speakers of being theatrical in their gestures,
probably arises more from some unsuitableness in the matter
to their manner, than from anything of uncommon majesty,
boldness, or grace in their action." " The term action," says
Sheridan Knowles, "considered in reference to the art of
elocution, signifies certain motions of the body, of the extremi-
ties, and of the muscles of the face, accompanying the
delivery. These motions are not arbitrary, but are regulated
by the nature of the ideas we wish to convey."
I will now add a few words on another and an equally
important requisite the proper mode of breathing. "For
effectiveness and glory of delivery, the cultivation of the voice
undoubtedly holds the first place," says Cicero ; and yet it is a
subject which few will take the trouble to learn. VVe cannot
read well unless we breathe properly, and we cannot breathe
properly unless we have been taught how to do it. The secret
of breathing properly is to keep the bellows well filled, to
Garry 's Elocutionist.
expend no more breath at any given moment, when speaking,
than is absolutely necessary to produce a certain note, and
always to replenish the lungs at every opportunity. We must
be careful always to keep the breathing apparatus in good
working order. " By training our lungs, so that we can breathe
deeply and thoroughly, and fill the very lowest air-cells in
them, and thus speak with the whole, as it were, of ourselves,
and not simply with the lips and throat, we shall experience
none of those distressing feelings which so harass the larger
portion of our public speakers, and especially of clergymen who,
in consequence of speaking in an unnatural tone of voice, have
given a name to a malady, almost special to themselves
'clergyman's sore throat.'" The vocal chords are about the
most delicate part in the human frame, and consequently any
strain on them is most injurious to the voice. The throat,
therefore, should as much as possible be used only as an air-
passage, through which the breath comes up from the lungs,
the sound being produced in the resonant cavity of the mouth.*
By this means, not only do we avoid straining the throat, but
we will be able to produce, with less effort, clearer, fuller, and
more resonant tones. The straining of the throat, which is too
often the plan with speakers, whether in the pulpit, on the
platform, or on the stage, instead of strengthening the voice,
is the cause of ruin to many voices which, under proper
cultivation, might have lasted a lifetime unaffected and un-
deteriorated.
Now, it is laid down in all books that the proper system of
inhaling breath is through the nose alone, and not through the
mouth. But anyone adhering strictly to this plan will soon
find that he cannot inhale a sufficient quantity of air to fill the
lowest part of his lungs. Breathing through the nose alone,
moreover, is objectionable, as being very often unpleasantly
audible. The speaker or singer, therefore, has to break
through this rule, and gulps in the required quantity of air
through the open mouth, in such a manner as to be audible at
some distance. The proper system of inhaling is one with
which every teacher of elocution or singing ought to be
acquainted, and is a combination of the two in such a way as
to get rid of all difficulties.
* For a fuller explanation of this subject, vide Elocution, Voice atui Gesture.
INDEX OF SELECTIONS contained in "GARRY'S ELOCUTIONIST."
Altruism .
Angels' Visit, The .
Awful Tragedy, An .
Baby Bell, Ballad of
Baby in the Train .
Bell of Happiness .
Belshazzar
Benediction, The
Bennie, Little .
Betsey and I are Out
Bilious Beadle, Dream of the
Blood on the Wheel
Burglar's Story, The
Burgomaster's Dream, The
Call of God, At the .
Cat, Catching the .
Charcoal Man, The .
Chinee Cook, My .
C 'rrect Card .
Curfew must not ring to-night
Deacon's Story, The
Diamond Wedding, The .
Dot Baby off Mine .
Dragoon's Story, The Old
Ellen Mcjones Aberdeen .
Etiquette ....
Family Vault, Our .
Fireman, The .
Flag was Saved, How the
Fontenoy, Battle of .
Fra Giacamo .
Gates, At the .
Gemini and Virgo .
George Lee, the Firema.ii
Golden Goose, The .
Guerdon, The .
Trowbridge .
Clement Scott .
Lynn . .
Aldrich .
Anon.
John Oxenjord
Bishop
Ooppfe
Ketchum .
Carleton .
Shirley .
Alex. Anderson
W. S. Gi.bert.
From. "The Bells"
De Courcy La/an
Vandergrijt
Trowbridge
Stephens .
Desprez .
Thorpe .
Emerson .
Anon.
Adams
O'Reilly .
W. S. Gilbert .
W. S. Gilbert .
Anon. . .
Baker
O'Reilly .
Davis
Buchanan
Carrie
Calverly .
Hamilton AiJi
Samuel K. Cowan
Aldrich .
Anon. . .
Miles
PAGE
109
32
153
$
54
80
40
125
161
241
60
197
191
72
58
9i
135
88
221
i63
95
53
166
JoeSieg . . .
King Volmer and Elsie
Kissing Cup's Race .
Alex. Anderson
Whittier .
Rae-Brown
35
Index.
PACE
Last Hymn The
Farninphatn .
2 39
Last Shot, The
Reid
"9
Lawn-Tennisonian Idyll .
Anon.
231
Little Women, Defence of
Anon.
. 227
Lost and Found . .
AUe
. 218
Lucknow, Leaguer of ...
Lucknow, Relief of ....
Reed
Werge
. 225
. 148
Mad
Magdalena .....
'. Waller '.
. 201
Mag Delany
Burke
. 207
Magnificat, Singing of the
Midnight Mail, The
Nesbit
Samuel K. Cowan
112
Miss De Laine, Aspiring
My Little Girl
Bret Harte
Anon.
! X 28
. 69
" Nothing New" ....
"Rita" .
. 184
Not one to Spare . . . ' .
Anon.
86
Old Actor's Story ....
Old Horse Died, Place where the .
Sims
Whyte- Melville
7 1
Pemberton Mill, Fall of .
Phelps
. 211
Phil Blood's Leap .
Picket, The
Buchanan.
Barker .
137
56
Pirate's Doom, The
Sapte
43
Re-enlisted
Larcom
. 104
Re-united .....
Thorpe
14
Rubinstein's Piano-playing
Bagby
155
Saint and Martyr
Watson .
182
Santa Claus
Sophia Snow
. 4 8
Scarf of Gold and Blue
84
Second Fiddle . . . . .
Wood
99
Senator Entangled ....
DeMille
. 127
Shamus O'Brien ....
Le Fanu .
75
Sheltered
Jewett
20
Shipwrecked Sailor and his Dog
Slave who saved St. Michael's
Coppee
Stansbury
23
Spanish Mother, The
Stage-struck ...
Sir F. Doyle .
Fanny Foster .
5
233
St. Sophia, Building of .
Baring-Gould .
i
Summer Romance .
Anon.
. 241
Surgeon's Child, The
F.E. Weatherly
'I oo Uttaly Utta ....
Anon.
244
What they do at the Springs .
Which could I Spare ?
Anon. . .
Brothenon ,
. 223
124
Wife's Heart, How I won my .
Carleton .
8
. 217
ELOCUTION, VOICE AND GESTURE.
BY RUPERT GARRY.
CROWN 8vo, 160 PAGES. PRICE 1s.; POST FREE, 1s. 2io.
BEMROSE & SONS, 23, OLD BAILEY, LONDON, E.C.
"Mr. GARRY'S complaints of the tone of 'stilted affectation' in which
some preachers deliver sermons, and the painfully unsuccessful efforts of others
to intone, belong to a different category. They will awaken painful remini-
scences among the members of many afflicted congregations." Extract from
a Leaderette in " Daily News."
"There can be no doubt that Elocution is an art, and as such must be
studied, even by the most naturally gifted. Hence the value of a good teacher,
such as Mr. GARRY certainly appears to be. . . . His hints on Gesture
will furnish the student with many admirable suggestions." Queen.
"... This cheap little treatise, stored from the first to the last page
with useful hints, apt examples, and practical rules, makes most profitable
reading alike for the actor and elocutionist. The section on the Voice is well
considered and trustworthy, based as it is on the writings of authorities on the
questions of the Hygiene of the Vocal Organs." Stage.
" The Book contains many valuable hints in regard to Voice and Gesture."
Voice ( New York).
" Mr. RUPERT GARRY'S manual is brief and well written. It has a good
number of examples marked with directions for speech and gesture, and stands
out among works of the kind by the practical quality of its suggestions."
Scotsman.
"Elocution may be confidently recommended to all who are in any way
concerned in public reading or speaking. . . . There is also a most useful
chapter on the mechanism of the Voice, and another on approved remedies for
vocal infirmities." Guardian.
"A practical treatise, full of sound advice. A very useful little work."
Literary World.
" Used as a supplement to the viva voce explanations of a good teacher, the
book will be of use. Constant practice under the supervision of a competent
instructor is essential; but the knowledge of the theory contained in the book
will render that practice more effectual." Schoolmaster.
" Mr. RUPERT GARRY very clearly expounds the rules of his art and the
principles on which those rules are based, and explains, in a popular manner,
the physiology of the organs on which good voice production depends. . . .
The book exhibits in every page evidence of the author's enthusiasm and pro-
found study of his subject." Scottish Leader.
" Coming from the pen of a well-known teacher of Elocution, it is sure to
meet with that welcome and approval which the work merits. ... All who
aspire to dramatic art cannot do better than provide themselves with this
admirable little compendium." Dramatic Review.
SIXTEENTH THOUSAND.
ELOCUTION,
VOICE & GESTURE.
ILLUSTRATED BY PIECES, ANNOTATED
WITH INFLECTIONS, EMPHASIS,
PAUSES AND GESTURE.
BY RUPERT GARRY,
TEACHER OF ELOCUTION AND DRAMATIC ART ;
FELLOW SCOTTISH SOCIETY OF LITERATURE AND ART ;
HON. MEMBER "ASSOCIATION OF ELOCUTIONISTS."
"The management of the Voice and Gesture in Public Speaking is intimately
connected with what is, or ought to be, the end of all speaking Persuasion." Rev.
Dr. Blair, Professor of Rhetoric, University of Edinburgh.
Xonbon :
BEMROSE AND SONS, 23, OLD BAILEY, E.C.
AND DERBY.
1888.
[All Rights Reserved]
BeMcatefc to
EDWARD S. WILLARD, ESQ.,
WHOSE DELINEATION OF TARQUINIUS
i.\ LORD LYTTON'S PLAY OF "JuNius,"
PLACED HIM IN THE VERY FOREFRONT OF BRITISH ACTORS ;
AND
WHOSE UPWARD PROGRESS IN THAT ART
OF WHICH HE IS NOW ONE OF THE ABLEST EXPONENTS,
I HAVE WATCHED
WITH KEEN AND EVER-GROWING INTEREST.
PREFACE.
The information given in the following pages is
all that I have found necessary, in order to make
my pupils understand the Principles of Elocution.
Long-winded and professedly learned essays or
lectures are of absolutely no practical value. No-
body ever yet learnt Elocution from merely listening
to lectures. All that is essential can be explained
in a few viva, voce lessons, and, after that, steady
and intelligent practice, for a time, under a careful
teacher is enough to enable the pupil to carry
on his education. From my own experience, I
have iound that the shorter, the simpler, the
clearer the explanation, not only is it more readily-
apprehended, but the pupil is much more willing
to place confidence in a man who does not pre-
tend to be the expounder of some mysterious and
abstruse Art.
The Section on the Voice, which has been re-
vised by an able Throat Specialist, is almost a
novelty in a book treating of Elocution. I found
that, entertaining the views I do of the duties
iv PREFACE.
of a Teacher, it was absolutely necessary to learn
the construction of the Vocal Organs, so as to
explain fioiv the voice should be best produced,
and why it should be produced in a certain way.
As to the Voice Remedies, none have been men-
tioned which have not been tried by myself and
found useful and efficient. Of course, the same
particular remedy may not suit everybody or every
occasion, but a very few trials will enable anyone to
fix upon the remedy which suits best under cer-
tain circumstances.
My best thanks are due to Mr. Wilson Barrett
who readily and courteously favoured me with two
effective pieces for the purpose of annotation.
RUPERT GARRY.
49, Torrington Square, London, W.C.,
October, 1888.
CO.NTENTS.
L ELOCUTION.
PREFACE iii
AUTHORITIES ON THE VALUE OF ELOCUTION - - i
WHAT is ELOCUTION?. 5
ARTICULATION AND PRONUNCIATION - - - 14
EXPRESSION : INFLECTION, MODULATION, TIME, TONE,
FORCE, EMPHASIS, PAUSE 20
READING : DRAMATIC READING - - - - 44
READING POETRY - - - - 45
WANT OF EXPRESSION IN ELOCUTION - - - 48
LIFELESS DELIVERY 50
PULPIT ELOCUTION - - 54
HINTS TO AMATEUR ACTORS, WITH A SELECTION OF
PLAYS AND SCENES - 62
IL THE VOICE.
THE VOCAL ORGANS EXPLAINED - - ' - - 73
RULES FOR BREATHING - - - - - - 75
VOICE REMEDIES - - ' - 84
1IL GESTURE.
VI CONTENTS.
PIECES ANNOTATED.
" HAMLET'S ADVICE TO THE PLAYERS " (with a note by
Percy Fitzgerald] 105
PITT'S REPLY TO SIR ROBERT WALPOLE - - - 107
THE SLAVE'S DREAM 109
EXTRACT FROM "MAGDALEN" - - - - in
TROUBADOUR'S CALL TO WAR - - 112
THE SEMINOLE'S DEFIANCE 114
THE CHARGE OF THE LIGHT BRIGADE - - - 115
THE EVE OF WATERLOO - - ' - - - - 117
LAST DAYS OF HERCULANEUM 119
THE SON OF PERDITION - - - - - -121
MARINO FALIERO'S ADDRESS 123
THE FLIGHT OF XERXES 125
THE GLOVE AND THE LION 127
THE CURSE, FROM " CLAUDIAN " - - - - 129
THE BATTLE HYMN OF THE LANDSTURM- - - 131
THE BATTLE OF THE LEAGUE 132
SCENE FROM "Ruv BLAS " 137
HAMLET'S SOLILOQUY " 140
MARC ANTONY'S ORATION 141
CLITO'S ADDRESS TO THE MEN OF ATHENS - -144
THE SPANISH MOTHER (with Letter from Mr. E. S.
Willard) - - - - - - - - 146
RIENZI'S ADDRESS (with Letter from M. Legoure,
author of Adrienne Lecouvreitr" d^r.) - - 148
THE LORD'S PRAYER - - - - - - 151
EXTRACT FROM "SALAMMBO" - - - - - 152
INDEX.
I
Aconite, Tincture of
AGE
89
Inflections
PAGE
.. 24
Acting, Mr. Irving on
63
Intoning
.. 60
,, Consistency in
6 9
.
Actors, Amateur
., ,, Scenes and
Plays for
Ammonium, Chloride of ...
62
6 4
89
Larynx
Lifeless Delivery
Lungs
77
.. 50
74
,, ,, Inhaler
91
Modulation
Arms . .
I O2
^ n
Articulation
Assumed Voice
Monotone
Mouth
.. 28
82,96
Attitudes
7
/
Orotund Voice
32,83
Blank Verse, Helen Faucit
on Reading
47
Parenthesis
.. 27
Breathing, Rules for ... c
' 75
Pause
Bronchial Tubes
76
Pharynx
82
Pinol
.. 91
Circumflex
Clergyman's Sore Throat ...
29
84
Pitch of Voice
Potash Tabloids
Pronunciation
- 79
.. 90
18
Cocaine
92
9
Pulpit Elocution ... .
54
Daily News
Ml 6 1
Delivery ..
Diaphragm
I
73
Reade, Charles
Reading
- 53
43
Echo
Dramatic
44
Elocution, Prof. Blair on ...
2
,, Prof. Seeley on...
Addison on
3
2
Shoulders
Sighing
.. IO2
.. 76
Emphasis
Epiglottis
34
77
Tabloids, Voice
. 90
Eucalyptine
91
Teaching, Sir Morell Ma
c-
Exclamation
29
kenzie on
.. 21
Expression 21
Eyes
,48
Teeth
Terebene
.. 86
.. 90
,, Dr. Murrell on .
.. 90
Force
33
Tone
32
.. 31
Trachea
.. 76
Gesture
94
Glottis
78
Verse Reading
45
Vocal Cords
.. 77
Hands 98,
llazeline
103
89
,, Organs, Diagram of.
Voice
.. 72
7?
Prof. Ringer on...
89
,, Remedies
.. 84
Head
101
,, Production
12, 74
ELOCUTION.
" Among Coleridge's accomplishments good reading was not one
he had neither voice nor management of voice. This defect is
unfortunate in a public lecturer, for it is inconceivable how much
weight and effectual pathos can be communicated by sonorous depth
and melodious cadences of the human .voice to sentiments the most
trivial ; nor, on the other hand, how the grandest are emasculated by a
style of reading which fails in distributing the lights and shadows of a
musical intonation." De Quincey.
"If I could have a son or daughter possessed of but one accom-
plishment in life, it should be that of good reading." Ruskin.
"Recitation is the best and most natural way to introduce an
assurance and confidence in speaking, with that leisure and tone of
pronunciation that is decent and graceful, and in which so few men are
excellent, for want of information and care when they are young."
Lord Clarendon.
IT is unnecessary to enlarge upon the merit, the
necessity and the advantages of Elocution, i.e.,
of a good style of Reading and Speaking, or
delivering written or spoken composition with a
clear, audible, distinct pronunciation of the words,
and with appropriate and suitable modulations and
2
2 ELOCUTION.
inflections of the voice. This, however, though
important and, in fact, nearly all that is required
from the Reader, is not all-sufficient for the Speaker,
who, in addition must also possess and apply with
discretion the adjuncts of expression of feature, and
of grace and force of gesture.
In the most ancient authors we find sentiments
constantly recurring as to the desirability of a good
delivery. Cicero, in one of his Orations, says:
" Delivery is the only thing in speaking which is
supreme. Without it, the greatest orator can achieve
nothing, with it, persons of commonplace or mediocre
ability can often surpass the greatest. Demosthenes.,
when asked what was the first essential in a public
speaker is stated to have replied three times in
succession Delivery." I need not, however, go so
far back, but will only quote some expressions by
leading clergymen and others in modern times :
" The management of the voice and gesture in public
speaking is intimately connected with what is, or
ought to be, the end of all speaking persuasion."
Rev. Hugh Blair, D.D., Professor of Rhetoric in the
University of Edinburgh. " It is certain that proper
gestures and exertion of the voice cannot be too
much studied by a public orator. They are a kind
of comment to what he utters, and enforce every-
thing he says better than the strongest argument he
can make use of. They keep the audience awake,
and fix their attention on what is delivered to them ;
at the same time, they show that the speaker is in
ELOCUTION. 3
earnest, affected himself by what he so passionately
recommends to others." Addison. But, perhaps,
the strongest sentiments ever expressed on the im-
portance of Elocution are to be found in a lecture on
Education, delivered at the Royal Institution, by J. R.
Seeley, Professor of Modern History in the University
of Cambridge : " The first thing is, that boys should
be taught to read well. By reading well, I do not
mean merely correctly ; but distinctly and ex-
pressively. In short, they should be taught Elocution.
To this I attach the greatest importance. It is more
than one hundred years since Bishop Berkeley pro-
pounded the question, whether half the learning and
talent in England were not lost because Elocution
was not taught in schools and colleges ? This same
question might be repeated now ; and it is not
merely for its practical use in after life to those whose
profession demands public speaking, that I desire to
see Elocution made a part of Education, but because
I think that, by this means, more than any other, may
be evoked in the minds of the young a taste for
poetry and eloquence. This taste is really very
universal ; generally, where it appears wanting, it is
only dormant ; and it is dormant because no means
have ever been taken to cultivate the sense of
rhythm and to make the delightfulness of speech
understood."
One of the principal and most valuable aims which
those who learn Elocution should hold before them,
is the learning of good poems by heart. Professor
4 ELOCUTION.
F. W. Newman speaks of the practice of Recitation
as " a valuable mental exercise." " It will often
happen," he writes, " that in the private reading of
a piece of poetry, a young person carries off but a
tame and dry conception ; but on hearing it well read
finds in it a depth of feeling and variety of allusion
which had previously escaped his notice. In order to
read even with right inflections, a sound understanding
of the syntax is needed. This is something. But it
is far more to enter into the delicate shades of
sentiment or deeper emotions which lie beneath the
letter, and are not really expressed on the page. No
reading of poetry, or of classically written prose,
conveys the whole sense to the hearer's heart, unless
there is feeling in the utterance ; and to be able
readily to express the feeling of any proposed passage
is a high test of delicately cultivated sentiment. .
. . That a person understands and feels what
has been written is in no way so well proved as by
his reciting the words with judgment and feeling."
There is another point in connection with reciting,
to which I will just refer. The late Sir Henry
Holland, M.D., Physician to the Queen, and one of
the recognised authorities of his day, says : " Read-
ing aloud is one of very ancient recommendation "-
for exercising the function of respiration by those
who have any tendency to pulmonary disorders
" the good effects of which are not limited to this
object alone. It might, indeed, be well were the
practice of distinct recitation, such as implies a certain
ELOCUTION. 5
effort of the organs beyond that of mere ordinary
speaking, more generally used in early life, and con-
tinued as a habit, or regular exercise, but especially by
those whose chests are weak, and who cannot sustain
stronger exertions. . . . The common course of
education is much at fault in this respect. If some
small part of the time given to crowding facts on the
mind not yet prepared to receive or retain them, were
employed in fashioning and improving the organs of
speech under good tuition, and with suitable subjects
for recitation, both mind and body would often gain
materially by the substitution." And in the same
connection, Dr. John Armstrong, an eminent
physician, who lived towards the close of the last
century, says in his " Art of Preserving Health " :
And read aloud, resounding Homer's strains;
And wield the thunder of Demosthenes ;
The chest so exercised improves its strength."
What is Elocution ? It literally means distinct
utterance ; but it has now come to signify the art of
delivering written or spoken language in the manner
best calculated to express the sense, beauty, or force
of the words which are used by the speaker, by
means of tones of the voice and by gesture.
The requisites of a good delivery are :
1. The clear enunciation of the separate words
and their elements.
2. The proper expression of the sense of the
words in connected discourse.
3. Appropriate gesture, in which are included the
6 ELOCUTION.
attitude, the motions of the body, head, or arms, and
the aspect of the countenance most suitable to lend
animation and force to the words uttered.
It is impossible to learn Elocution and Declama-
tion from books, or by merely listening to a lecture.
Elocution can be learnt thoroughly only by oral
teaching, accompanying, or following on, a theoretical
knowledge of the subject. But there are certain
rules, by observing which the pupil will more readily
apprehend and recognise the reason of a certain
mode of reading on the part of the teacher, and by
practising which he will himself become a good
reader and speaker.
Long-winded essays and rambling lectures on the
Art of Speaking, in nearly all cases leave matters
pretty much where they were at first. The reader,
too often in vain, looks in the cloud of words for
the grains of information which he can apply
successfully. I will try not to commit these faults.
The rules which I will lay down will be practical,
clear, concise and easily understood. To begin, then,
with the most elementary rules, which, at first sight,
may appear trivial, but which are absolutely essential,
and without which a reader or a speaker will never
be able to do justice either to himself or his subject.
Sit quiet for a short time before speaking ; when
you are ready' and have got on your legs, stand
in a perfectly erect but easy position. Throw your
chest well out, and hold the shoulders backward
and downward. The object of this is, as much as
ATTITUDES. 7
possible to expand the chest and allow the air
passages of the lungs free and uninterrupted play.
In order to let the voice have full power, the mouth
should be well opened by lowering the under jaw,
but not so as to distort the features. Let the weight
of the body always rest on one foot, the other being
placed in such a position as, when necessary, to
relieve it promptly and without effort. Alternation
of posture is agreeable and graceful ; but it should
not be too frequent, as the idea of nervousness and
fidgetiness is thus suggested.
Practise the following positions : First position
rest on the left leg, the right foot being slightly
in advance, and at an angle of about 75 degrees.
Second position slide right foot forward when
emphasizing a sentiment, or stretching out the arms
to the audience ; rest on right foot, the ball of the
left great toe alone touching the floor, so as to
keep the body from tottering. Alternate these
positions with left leg, for third and fourth positions,
but not too frequently, and in doing so let the motions
be made with the utmost simplicity. The fourth
position, however, is rarely used except by those who
have been badly taught The first position of the
right foot is the more usual and more graceful
one, inasmuch as it is better suited to the gestures
which are most frequently made with the right arm.
But should the speaker stretch his arms towards
the audience, when he begins to speak, he should
take the second position.
8 ELOCUTION.
Before commencing to speak, take a pretty deep
inhalation of breath ; but do not let it be too
deep. Economise your breath, and never exhaust
it. At every pause take a full, noiseless, even
inhalation ; and at every rhetorical pause, which I
shall explain further on, take a short inhalation ;
otherwise the lungs will become exhausted and at
last injured, while the process of breathing will be
spasmodic. The expulsion of the air in speaking
should be made, not so much by the descent of the
thorax or wall of the chest, as by the ascent of
the diaphragm or base of the chest. The breath
is thus more evenly expelled, and the sound can
be kept up for a longer time. Avoid gasping, or
drawing in the breath with perceptible effort.
" The natural and free development of tone," says
Bach, "depends, above all, on the difficult art of
correct Aspiration and expiration. Breath must be
drawn completely at ease, without fits or starts, and
quite noiselessly, until even the lower parts of the
lungs are completely full with air. Many persons
spoil their very first note by singing it over-hastily,
even before they have done drawing a breath ; whilst
the formation of the tone must begin only with the
expiration, which likewise must be executed with the
greatest possible ease and gentleness. It does not
depend upon the great volume of ejected air. On
the contrary, too much breath makes the note un-
certain and unsteady. Flat singing is generally due
to this mistake. The vocal cords are weakened by
BREATHING. 9
such forcible expulsion of the breath, the tone
becomes hard and the throat is injured. The singer
must rather carefully husband the air deeply drawn
into the lungs and must give it out only gradually.
To convince yourself in the simplest way of the
correctness of my view, try to whistle. If we force
too much air against the edges of our lips, or drive a
violent breath on them, we produce either no tone at
all, or only a very unpleasant one. If, on the other
hand, very little air, and this but gently, touch our
lips, we shall often hear notes such as singing
birds can produce Even when singing
fortissimo, we must avoid throwing the full breath on
the windpipe, but rather regulate and check it by
holding it in ; for it is a delusion to believe that the
strongest breath produces the loudest sound. Lavish
expenditure or forcing of the breath on the windpipe
will by no means achieve a real sonorous, r\c\\ forte.
This must rather be produced by setting a com-
paratively small volume of breath into the greatest
possible vibration and resonance within the throat
and mouth. A rich volume of voice is produced only
by a perfectly free flow of air through the larynx, and
is produced especially when the air strikes the
pharynx."
" The peculiarity of so many singers in producing
the higher notes of the chest-register by a greater
expenditure of breath and a pressure of the muscles
of the neck, is entirely wrong. It is a law in nature
that the larynx rises by the heightening and falls
10 ELOCUTION.
by the deepening of the sound, but there should be
no pressure on the muscles of the neck, for thereby
the natural function of the larynx is hindered. A too
great expenditure of breath, or concussion of the
vocal cords, will be followed by screaming tones, and
not only that, but the vocal cords will in time lose
their elasticity, and with this their ability of vibrating.
This is the cause of the ruin of so many voices."
(Guttmann). And anyone regularly attending London
Theatres will find that the voices of most of the actors
and actresses are sensibly deteriorating, simply be-
cause they mistake noisy acting for forcible acting.
Observe and practice the following rule, which is of,
I may almost say, vital importance. When either
reading, speaking, or walking, and especially after
coming out of a hot room, the breath should, under
all circumstances, be inhaled into the lungs only
through fhe nostrils, never through the mouth, other-
wise the throat is rendered dry and apt to become
inflamed ; while in damp" weather the phlegm is much
more liable to accumulate in the throat, the result
being a hoarseness of speaking, which goes far to
destroy the effect of even a naturally good voice. In
order to keep purity of tone in the voice, both the
nostril and the throat must be kept clear of all
obstruction. A celebrated writer on Voice Culture
says : " The importance of breathing through the
nose has never been sufficiently recognised. Vocalists
ought, in the morning, immediately after rising, to
bestow particular attention to their noses. I am in
BREATHING. I I
the habit of using every morning as a nose-bath a
large tumblerful of tepid water, in which there is
dissolved a tablespoonful of table salt. This water is
gently drawn through the nostrils four or five times
in succession ; and I can earnestly recommend this
process to every vocalist. By these means all foreign
substances are removed, the air passages are cleared,
and it is a truly agreeable sensation to be able at once
in the morning to inhale freely through the nostrils
the fresh air."
As soon as the mouth is open, that is at the
moment of expiration, seize the sound, so as not to
lose valuable breath. In this way you also produce
a more distinct sound than you would otherwise do-
The management of the lungs in speaking and singing
is an art, in which one becomes efficient only after
careful training. Breathing, in combination with
vocalization and articulation, are one and all required
by one who aspires to become a good speaker or
singer. Unless a person knows how to manage the
breath, the result is the use of too much force in
breathing, which strains the vocal organs. Breathing
well consists in the harmonious performance of two
separate actions inspiration, or taking in breath ;
and expiration, or giving out breath. In taking in
breath, in order to get a good supply, we must
employ, not only the upper portion of the lungs, but
also the diaphragm. A bad reader or speaker never
inhales enough, and always exhales too much and too
fast. He is unable to store it up, with the inevitable
12 ELOCUTION.
result of being under the necessity of constantly
catching at his breath, a trick so well known as
gasping.
A great deal of twaddle, not to say empiricism,
is talked about Voice Production. A voice cannot
be produced unless it exists, but it can be improved
wonderfully and effectively by simply practising
the correct system of breathing. Herein lies the
whole art of voice-production. All breathing, whether
in singing, in speaking, or in every-day life,
should be abdominal and not clavicular, which last
is totally vicious and can really only be produced
by a kind of struggle. This style of breathing,
moreover, besides being injurious, is ungraceful, as
it necessarily compels the moving up and down of
the shoulders, which should be kept immovable. If
any difficulty is found, at first, in getting rid of this
bad habit, the result only of bad teaching, the pupil
should practise breathing under a couple of ledges,
which will prevent his shoulders from rising, and thus
compel him to adopt the proper style of breathing.
Guttmann, one of the greatest authorities on the
Voice, says : " Every singer, or speaker, should
breathe as far as possible through the nose, and
should make use of every opportunity that presents
itself for doing so. But where is there such an
opportunity ? Wherever he has two or three seconds'
time, which is quite ample for a full inspiration. But
in inspiring through the nose, we should not move
the muscles as though we wished to smell ; this
BREATHING. 13
checks the air which is to be inhaled and becomes
unpleasantly audible." A late well-known teacher
of Elocution was famous for this disagreeable and
unnatural style of breathing-. " Inspiration should
be performed solely with the inspiratory muscles
(the diaphragm and the external intercostals), the
nostrils to be used only as openings for the passage
of the air. We should also be careful not to
compress the lips while inspiring through the
nostrils. Compressing the lips tightly reduces the
openings of the nostrils, by which inspiration is
rendered infinitely more difficult, and a noise is pro-
duced as in audible smelling. If we are compelled,
by rapid singing or speaking, to breathe through the
mouth, it is quite necessary in inspiration to hold
the tongue convexly towards the palate, as in pro-
nouncing E (as in he), as the air is thus prevented
by the narrowed cavity of the mouth from striking
directly against the vocal chords, and there is much
less danger of the mucous membrane becoming dry."
In connection with this I will allude to the soft
palate, which plays an important part. " It is a
movable curtain at the back of the hard palate, or
roof of the mouth. When a deep inspiration is taken
through the mouth, it will be felt that this soft palate
is forced backward until it touches the back wall of
the throat, the pharynx ; but when the inspiration is
taken in through the nose, it will be felt that the
soft palate moves forward somewhat, so as to leave a
considerable space between it and the pharynx, in
14 ELOCUTION.
order that the air can pass by this route into the
larynx."
Some authorities say that, owing to this action of
the soft palate, it is unnecessary to shut the mouth in
order to breathe through the nose ; but, with all due
deference to them, I have no hesitation in stating
that, to say nothing of the long and not always
successful practice which would be required to
breathe always through the nose, the simplest,
shortest, most easily practised and safest plan is,
to bring the tongue into play as an assistant to the
natural action to the soft palate. It is thus that a
much greater quantity of air can be inhaled than by
the ordinary, and with some persons disagreeably-
sounding, system of inhaling through the nose alone.
Some writers on Elocution claim great credit for
advising that breathing exercises should be practised
when lying on the flat of the back. To me, the
superiority of this plan is very doubtful, inasmuch
as the breathing apparatus is then in a different
position to what it is when the person is standing up,
and therefore, it may be that the organs are exercised
in different ways and to different degrees. The only
merit and it is one that is almost altogether
overlooked is that it necessitates the adoption and
practice of the right mode of breathing, viz., from the
abdomen, and not from the shoulders.
Having borne these rules in mind, we now come to
Articulation and Pronunciation. Articulation is the
art of cutting out and shaping with the organs of
ARTICULATION. 15
speech all the simple and compound sounds which
our twenty-six letters represent. The end of Oratory
is to persuade. We cannot persuade unless we are
first clearly understood ; we cannot be understood
unless we utter our words with distinctness, correct-
ness, ease and elegance. A clear and distinct
articulation atones for many things ; but nothing can
make up for the want of it. Its importance cannot
be over-estimated. Slovenly articulation is mis-
spelling to the ear ; and is as great a blemish as
false spelling in any writing. " A good articulation,"
says Sheridan, "consists in giving every letter in a
syllable its due proportion of sound, according to the
most approved custom of pronouncing it ; and in
making such a distinction between the syllables, of
which the words are composed, that the ear shall,
without difficulty, acknowledge their number, and
perceive, at once, to which syllable such letter
belongs. Where these points are not observed, the
articulation is proportionally defective." Open the
mouth well, in order to attain the quality of round-
ness, fulness and clearness. Articulate clearly and
fully, and let the words be begun and ended crisply
and cleanly. They should not be hurried over
or drawled, or permitted to slip out carelessly, or
to drop unfinished. They must not be pronounced
in such a manner as is, unfortunately, not un-
common on the part of those who have been badly
taught, namely, by introducing unnecessary sounds
between the words, e.g., " flashing-ah like-ah a sun-
1 6 ELOCUTION.
lit-ah gem-ah." Let the lips perform their due share
in the process of articulating, otherwise the sounds
will not be distinct. A distinct and perfect articula-
tion, besides being of importance as regards the
expression, also enables the speaker to dispense with
mere loudness, which would not only exhaust his own
strength, but annoy the ears of his audience. This
is particularly the case in buildings which are afflicted
with an echo. There you must be very distinct and
slow, and pause frequently, so as to allow the waves
of the air to subside. In fact, always adapt and
proportion your voice, not only to the size of the
place in which you speak, but also to its acoustic
properties. Do not drop the voice at the end of
a sentence, with the result of becoming almost
inaudible. The voice should be sustained not only
throughout the words, but throughout the sentence to
the very end. No part of a sentence is of more
importance than the close, both in respect of sense
and harmony. Don't imitate the clergyman who is
said to have announced that he intended, on the
following Sunday, to preach on "the aspects of hell " ;
and when the time came was obliged to confess to an
unusually crowded congregation, that what he really
meant was " the aspects of health." Only four con-
sonants permit of prolonged sound 1, m, n, r. With
these exceptions, the voice should rest only and at due
length on the vowels, and all other consonants should
be struck suddenly and pronounced rapidly, but full.
Always pronounce clearly, cleanly and distinctly the
ARTICULATION. I/
word and; e.g., good-an-bad, hooks-an-eyes, up-'n-
down, etc. Be careful to sound the prefixes and
terminations clearly ; e.g., admit, not 'dmit, ambition,
not 'mbition, thinking, not thinkin, etc. Unless words
are clearly articulated, confusion and uncertainty will
result, e.g., dandj when followed by u are frequently
confounded. " The Duke paid the money due to the
Jew, before the dew was off the ground ; and the Jew y
having duly acknowledged it, said adieu to the Duke
for ever." Don't run the words into each other. The
first direction which that great actress, Mrs. Siddons,
used to give her pupils was, " Take time." Throw as
it were each syllable into the ear of the most remote
individual in the audience, and give it time to be
heard before the utterance of its successor. The
smallest and least important word in a sentence or
discourse, if worth uttering at all, is worth uttering
audibly. Rapidity of utterance is destructive of
expression, of distinctness and sometimes even of
meaning. Practice on the following sentences :
Heaven's first star (not fir star) ; The supply lasts still
(not lasts till) ; I see the panting spirit sigh (not spirit's
eye) ; To obtain neither (not obtain either) ; Would
that all difference of sects (not sex) were at an end ;
The magistrates stood (not magistrate stood) ; His
crime moved me (not cry moved) ; My heart is awed
within me (not sawed). Sound distinctly the definite
article the before each word beginning with a vowel or
silent h ; and make it short only before consonants
3
1 8 ELOCUTION.
e.g., The works of the age of Pericles lie at the foot of
the Acropolis in indiscriminate ruin.
Begin rather under the ordinary pitch of your voice
than above it, as it is easier to raise than to lower the
pitch, and always speak in your own natural voice.
Don't assume an artificial one, or try to imitate some
one else. If you have not naturally a good voice, do
your best, under proper supervision, to improve it and
correct its faults ; but let it always be your own and
your natural voice.
The voice can be raised at will to any pitch of
which it is capable ; but it requires great skill and
practice to lower it when once it is raised too high.
Just as dangerous is the other extreme. The lower
notes always tend to infuse monotony, gloom, dulness,
heaviness, and a certain amount of indistinctness.
" By mingling the low notes with the two other
registers" (i.e., the middle and the high), says
Legouve, "my father at last succeeded in reaching
that natural variety of intonations which is at once a
charm for the hearer and a rest for the speaker."
In connection with articulation is Pronunciation,
which is a most important element, and which ought
to be such as is used in the ordinary conversation of
educated and well-bred persons, who are sure to have
no peculiarities, vulgarisms, or false and vicious pro-
vincialisms of accent. Custom is, no doubt, the
arbiter of what is correct ; but then it must be the
custom of the educated, not the uneducated, or worse
the half-educated portion of the community, and
PRONUNCIATION. 19
among these are to be found some professed Teachers
of Elocution. I have been present when such men
have allowed their pupils to pronounce the words just
as they please, some one way and some another, with-
out attempting to correct them, either because they
do not know better, or because they are afraid that a
possible reference to a dictionary might expose their
ignorance of the most elementary principle of their
art. As the late Mr. Sergeant Cox, an able writer,
says : " Some Teachers of Elocution profess to pre-
scribe rules for the guidance of the pupil, which may
be correct in themselves, but the observance of which
would certainly make the reader who tries to observe
them an ungainly pedant, and his reading a positive
pain to his audience." Another writer says : " If
anyone you know has had greater opportunity than
you have had of making himself acquainted with the
elegant mode of pronunciation, you ought not to be
ashamed of asking his advice, whenever you entertain
doubt respecting the proper pronunciation of any
word ; and if you can persuade him to be present
whenever you speak in public, for the purpose of
setting down those words which you pronounce wrong,
and afterwards tell you of them, you will probably be
able, in a short time, to correct yourself in such
improprieties, and bring your speech to that polish
and refinement, to attain which is one of the most
important objects that can possibly engage your
attention."
The Stage, one of the leading dramatic papers, has
2O ELOCUTION.
repeatedly alluded to this subject, and recommended
actors to pay more attention to what is so important.
If actors, or vocalists, or reciters do not choose to
learn to pronounce correctly, they should, at least, see
that their pronunciation is uniform. I myself have
heard such words as the following pronounced within
the space of a few minutes, Genoa or Gen-6a, aconite
or aconite, quietus, quietus. But the most amusing
instance of varied pronunciation is the following :
" A party of London glee singers met another from
Yorkshire, and to these were joined a third party from
Lancashire. The Londoners struck up with ' We flee
by Night,' from the Witch's Glee in Macbeth, being
followed by the Yorkshiremen with 'We floy by
noight,' the Lancashire men responding with ' We flee
by neet.' "
"Articulation, accent, and correct pronunciation,
purity of tone and pitch of voice, however, should be
taught among the elements of education, that is,
before the more advanced stage of expressive reading
or of public address is taken up as a special study.
When this is accomplished, the teacher of elocution
will have the advantage enjoyed by the teacher of
music. His pupils will know, as it were, the notes
of speech, and he will have but to dictate their use
and direct the learner in their execution in the inter-
pretation of an author's language."
After distinct articulation and correct pronun-
ciation, comes EXPRESSION, which deals with groups
of words and the sense expressed by them when
EXPRESSION. 21
combined in sentences. The basis of expression, of
course, depends on a right understanding of the
meaning of the sentence the bringing out the sense
and sentiment of what is read or spoken in the
clearest, fullest, most pleasing, most appropriate and
most effective manner. It has been well called the
soul of oratory, for without it reading, speaking, or
reciting is unmeaning vox et praterea nihil.
I haver had arguments with many persons, some of
them even Teachers of Elocution, as to the possibility,
or, as they declare, the impossibility of teaching
expression. I unhesitatingly assert that it can be
taught. I admit that every person cannot be taught
the same amount of xpression ; but everyone has a
soul, and it is the business of a teacher to get at that
soul, to drag it out if necessary. But I equally
admit that a teacher can do this, only if he is of a
sympathetic nature, and is capable of inspiring at
least a certain amount of interest and enthusiasm ;
or, as Sir Morell Mackenzie, in his able work, " The
Hygiene of the Vocal Organs," says, " The elocution-
master should possess at least some amount of that
indefinable moral force known as personal magnetism."
Of course, I am here assuming that the teacher really
knows what he professes, because it is a melancholy
fact, that, as an American writer says, " outside of
patent medicines, there is no humbug so great as
characterises nine-tenths of elocutionary teaching."
In connection with this I quote another passage
from Sir M. Mackenzie. He is speaking specially
22 ELOCUTION.
of training the voice in connection with singing, but
his remarks apply with equal force to all kinds of
teaching. " It is not every one who can sing, or who
knows what good singing is, that is fit to teach the
art. In addition to the qualifications which all true
instructors should possess thorough knowledge of
the subject, wide experience, sound judgment, clear-
ness of thought and expression, sympathetic insight,
personal enthusiasm and the power of kindling it in
others, combined with the patience of Job and the
energy of Hercules the singing-master must have,
of course, the special qualities of his craft. The
question is often debated whether the master should
himself be a singer or not. Teachers naturally argue
the question from the stand-point of their own
personal gifts. At first sight, one is disposed to
say that a singing-master who cannot sing is like the
dancing-master spoken of by Swift, who had every
good quality except that he was lame. This view,
however, is really a fallacy akin to ' Who slays fat
oxen should himself be fat.' A singing-master must
be able to sing at least well enough to exemplify his
own precepts and show his pupils how to produce the
voice and how not. He need not, however, be a
brilliant performer ; indeed, I believe several of the
most successful voice-trainers of the day have them-
selves little or none of the divine gift which they
cultivate in others. The greatest practical adepts in
any art are not by any means always the best
teachers of it, not merely from the lack of the
TEACHING. 23
necessary patience, but from want of the power of
imparting knowledge. The hone, which, although it
cannot cut, can sharpen the razor; the finger-post that
shows the way, which itself can never go, are
emblems of the teacher.
" Tin's may at first sight, seem to be a very humble"
function, but it must be borne in mind that the
instruction of others is as much an art sui generis as
that of singing itself, and it is only by a fortunate
coincidence that the capacity for both may sometimes
be found in the same individual.
" I hope that I shall not be understood as arguing
that the less vocal ability a man has the better he is
fitted for teaching. In arts which are learnt only by
imitation, the instructor must of course be, to a great
extent, a model. But apart from the fact that
geniuses in their own right are seldom safe exemplars
for less gifted mortals, and that their very superiority
would be likely to overwhelm and dishearten their
disciples, there would often seem to be a real
incompatibility between practical excellence and
theoretical knowledge, or the power of communi-
cating it. This arises from the radical difference
between the synthetic, or constructive, and the
analytic, or critical type of mind. Thus learned
grammarians are, as a rule, inelegant writers, and
profound physiologists are not seldom indifferent
doctors. Poets are by no means the best judges of
verse, while the Pegasus of critics is too often of the
Rosinante breed."
24 ELOCUTION.
Expression depends for its effectiveness on our
attending, first of all, to four points : (i) Inflection,
(2) Modulation, (3) Emphasis, (4) Pause.
(i) By Inflections the proper use, or the want, of
which marks the good and intelligent reader from the
"uneducated or ill-taught reader are meant, not the
loudness or softness of the voice, which may accom-
pany any pitch, but simply the ascents and descents
of the voice, the slides from a lower to a higher, or
from a higher to a lower key, which the voice makes
when the pronunciation of a word is ending, as
distinguished from the monotone ; e.g., Do I rise or
fall ? " So important is a just mixture of the two
inflections, that, the moment they are neglected, our
delivery becomes forceless and monotonous." In
the Rising Inflection the movement of the voice is
from grave to acute. It carries on the attention of
the hearer to what is to follow, and thus denotes
incompleteness of statement. The Falling Inflection
is from acute to grave. It directs the attention of the
hearer to what has been said, and denotes complete-
ness of statement. It is also used for the purpose of
emphasis, giving more importance to a word than the
rising inflection. The rising inflection is used at the
end of the penultimate member of a sentence, or
succession of sentences, in order to prepare a cadence
for the close of the sentence, e.g., " Quit ye like men,
be strong."
Sentences which follow in the same train of thought
are connected by the rising inflection, e.g., " Cast thy
INFLECTION. 25
bread upon the waters; for thou shalt find it after
many days."
Interrogative sentences, beginning with verbs, to
which the simple answer, "Yes," or "No," can be
returned, end with a rising inflection, e.g.^ " Did he
say he would come ? " " Is the doctor at home ? "
" Can this be true ? " " Is this the noble Moor whom
our full senate call all in all sufficient ? " " Is a candle
to be put under a bushel or under a bed?" (Here
the words are in apposition, that is, they have the
same relative meaning. It is usually read with the
falling inflection on bed, as if there was no alternative.
But the real question, as shown by the natural answer,
is " Is a candle brought to be hid under a bushel, or
under a bed [or a table, or a chair] ? " " No ; it is
brought to give light")
Interrogative sentences, beginning with pronouns
or adverbs, or to which some definite answer must be
given, end with the falling inflection, e.g., " Why was I
born to taste this depth of woe ? " " Why do you
not answer me?" "Who told -you he was sick?"
" Where is the man ? ''
When interrogative sentences, or clauses, are con-
nected by the disjunctive "or," expressed or implied,
the questions which precede the " or," end on the
rising inflection, and those which follow end on the
falling inflection, e.g., " Shall we advance or retreat ? "
" Will you ride or walk ? " " Do the perfections of the
Almighty lie d6rmant ? Does He possess them as if
He possessed them not ? Or, are they not rather in
26 ELOCUTION.
continual exercise ? " If the " or " is used conjunc-
tively, it has the same inflection both before and after
it, e.g., " Can wealth, or honour, or pleasure satisfy the
soul ? " " Would it make worse parents or children,
husbands or wives, masters or servants, friends or
neighbours, or [here, disjunctively], would it not
make men more virtuous, and, consequently, more
happy ? "
Supplicating, or appealing, sentences usually take
the rising inflection throughout, and the voice is
usually more or less high in pitch ; but in sad or
solemn appeals the pitch of voice is low, e.g., " Pity
me ; hear my supplications ! " Affirmative sentences
take the falling inflection. All sentences, or members
of sentences, which are negative in structure, and in
which the negative is emphatic, generally end with
the rising inflection, e.g., " I come not, friends, to steal
your hearts." Antithetic sentences, that is, those
sentences in which the words or clauses are opposed
or contrasted to each other in meaning, must be read
with an opposition of inflection, and in different
degrees of modulation ; and the first part must
generally end with the rising inflection, e.g., " He did
not call me but you." " Men's evil manners live in
brass ; their virtues we write in water." " We are
always complaining our days are te\v, and acting as
though there should be no &nd to them." " A friend
cannot be known in prosperity, and an enemy cannot
be hidden in adversity."
Sentiments of great animation and vivacity take
INFLECTION. 2/
the rising inflection. Grave and earnest sentiments
take generally the falling inflection. Anger, hatred,
detestation, etc., take the falling inflection, and the
voice, though loud in power, is pitched in the lowest
key. Gloom, dejection, melancholy, etc., take the
falling inflection and the time is slow. Emotions of
pleasure or tender emotion take a rising inflection,
and the voice is usually pitched in keys more or less
high; but where tenderness, pity, or pathos mingle
with the affection, the voice is modulated into a softer
key. Wonder, amazement, surprise, take the rising
inflection, and the voice is usually pitched in a very
high tone, unless awe, dread, or terror mingle with
the emotion, when the voice is more or less low.
Authority, command, reprehension, or denunciation
take the falling inflection, e.g., " Swear not at all."
" Be ready, as your lives shall answer it." " Ye
blocks, ye stones, ye worse than senseless things."
A parenthesis suspends the sense. A parenthetic
sentence must always be pronounced differently from
its relative sentence (generally more rapidly and in a
lighter tone), and conclude with the same time, pitch,
and inflection of voice which terminates the member
that immediately precedes it, eg., " Know ye not,
brethren (for I speak to them that know the law),
that the law hath dominion over a man as long as he
liveth." " Laying his hand upon his breast (a slender
white staff with which he journeyed being in his
right), he introduced himself." When the parenthesis
contains an emphatic word, the falling inflection is
28 ELOCUTION.
necessary, e.g., " The man who is in the daily use of
ardent spirit (if he does not become a drunkard), is in
danger of losing his health and character." If a
parenthesis is long, it may be pronounced with a
degree of monotone or sameness of voice, e.g.,
" His spear (lo equal which the tallest pine
Hewn on Norwegian hills, to be the mast
Of some great Admiral, were but a wand),
He walked with to support uneasy steps
Over the burning waste."
Parenthetic sentences are preceded and followed by
a pause sufficient to give them an isolated and
independent character. The small intervening words
"says he," "said 'the man," "added the speaker,"
must be read without modulation, following the
inflection of the member which precedes them.
The Monotone, when judiciously used, is very
expressive. It adds wonderful force and dignity to
the delivery of passages of a solemn and elevated
character, or where emotions of sublimity, awe,
reverence or terror are expressed ; and is very
applicable to the reading of many parts of the Holy
Scriptures and the Church Services.
" High on a throne of rdyal state, which far
Outshone the wealth of Ormuz or of Ind,
Or where the gorgeous East, with richest hand,
Showers on her Kings barbaric pearl and gold,
Satan exalted sat."
Here, every word, especially of the third and fourth
line, may be pronounced in a monotone, except pearl
INFLECTION. 29
and gold. " Thus saith the High and Lofty One that
inhabiteth eternity, whose name is Holy ; I dwell in
the High and Holy place."
The Circumflex, or Compound, inflection, is a union
of the rising and falling inflection, ascending and
descending in what may be described as a wave of
the voice, and is generally used in vehement and un-
restrained utterance, or in the expression of contempt,
sarcasm, derision, contrast, or reproach, but especially
in irony, e.g., "Hear him, my Lords, .he is wondrous
condescending." " Sell my field i.o you ? I would not
sell it to the King" In Marc Antony's oration over
the body of Caesar, great effect may be added to the
oft-repeated epithet " honourable man " (which is
applied ironically), by the adoption of this compound
inflection.
An Exclamation, consisting of a word, requires the
rising inflection ; but the entire exclamatory clause
ends with the falling inflection, e.g., " Oh, Rome ! oh,
my country ! how art thou fallen."
" Hark ! hark it is the clash of arms the bells begin to toll-
He is coming ! he is coming ! God's mercy on his soul."
EcJio is that repetition of a word, or thought, which
immediately arises from a word, or thought, that
preceded it. The echoing word ought 'always to be
pronounced with a rising inflection in an increased
tone of voice, with a long pause after it, e.g., " And
this fellow calls himself a painter. A painter ! He
is but fit to daub the sign of a country ale-house."
When very emphatic, the falling inflection is preferable,
30 ELOCUTION.
e.g., " Shall I, who was born, I may almost say, but
certainly brought up, in the tent of my father, that
most excellent general shall /, the conqueror of
Spain and Gaul, and not only of the Alpine nations,
but the Alps themselves, shall I* compare myself with
this half-pay captain ? A captain ! before whom, should
one place the two armies without their ensigns, I am
persuaded he would not know to which of them he is
consul."
(2) MODULATION
Is the art of harmonious expression. It is the passing,
not from one note to another, but from one key to
another. There is nothing which contributes more to
the pleasure of an audience, nothing which gives
stronger proof that an orator is master of his art, than
a well-regulated and expressive modulation. It
should, however, not be resorted to merely for the
sake of variety, but should always be subservient to
the sense. A change of modulation should take place
at all changes of style at the commencement of every
paragraph and in parenthetical clauses or sentences.
It should also be used to distinguish question and
answer, or the different speakers in a dialogue.
Every change of Modulation is usually accom-
panied by changes of Tone and Time.
Tone. Every person reads or speaks in a certain
* This second " shall I " may be regarded as emphatic, and will,
therefore, take the falling inflection.
MODULATION. 31
pitch or key, which may be either high or low, accord-
ing to the nature of the subject The voice has been
assumed capable of assuming three such keys the
low, the high, the middle. From these, the inflections
may proceed upwards or downwards, ranging from
the various degrees of intonation necessary to express
the different shades of passion or emotion. A dis-
tinction must be drawn between the two sets of terms,
JiigJi and low, loud and soft. The latter, like the forte
&c\& piano in music, denote merely the degree offeree
or volume of sound which may be deemed necessary
to use in the same key ; while the former refer to the
degrees of pitch, or acuteness, and gravity of sounds.
Pitch is consequently independent of Force, though
Force frequently adds much to the effect of pitch.
The Low Tone falls below the usual speaking key
and is employed in expressing feelings "deeper " than
ordinary fear, secrecy, grief, sorrow, solemnity, deep-
seated feeling, gloom, melancholy, and concentrated
passion ; and also in the softest and deepest expression
of love and veneration.
The Middle Tone is the tone of habitual utterance
or address unmarked by passion, and is used in
ordinary conversation, narration, moral reflection,
descriptive statement, or calm reasoning.
The High Tone is that which rises above the usual
speaking key, and is used in expressing elevated and
joyous feelings, strong emotions, and impetuous, im-
pulsive passion. Joy, exultation, rage, invective,
eagerness, threat all speak in a high pitch. It
32 ELOCUTION.
is also proper for stirring description or animated
narration.
The Orotund voice, by using which a much greater
volume of sound is produced than when only the lip
voice is used, and which is peculiarly fitted for the
expression of grand and sublime language, is pro-
duced by the same organic form and action of the
mouth as are necessary perfectly to enunciate the
letter O. It is acquired by speaking farther back in
the mouth, causing the voice to reverberate more.
It should be sedulously cultivated by all public
speakers and, especially, by clergymen. It must,
however, be carefully distinguished from the "high
tone," which is an elevation of pitch, and also from
* loudness," or " strength," of voice.
Time is the rate of utterance. The great difficulty
is to be slow and not to seem slow, to speak distinctly
without appearing to drag the words, and to speak
quickly without appearing to hurry. Generally, ex-
planatory clauses should be pronounced in quicker
tone and higher key, while parenthetical clauses
should be pronounced in quicker time and lower key,
than the other clauses of a sentence. Time may be
considered under three heads quick, moderate, and
slow. Quick time is used to express joy, mirth,
raillery, passion, violent anger and excited states
generally. Moderate time is used in narration, de-
scription, argument and unimpassioned speech. Slow
time is used to express deep feeling, awe, dignity,
meditation, deliberation, grief, veneration and solemn
MODULATION.
33
discourse generally. The following is an example of
Tone and Time combined :
High
Tone,
Middle
Tone.
Short
and
Quick.
High
and
Quick.
jOnce wore unto the breach, dear friends, once more,
| Or close the wall up | with our English dead.
( In peace | there's nothing so becomes a man |
| As modest stillness and humility :
But, when the blast of war breaks on our ears,'
Then | imitate the action of the tiger.
Stiffen the sinnus \ summon up the blood |
Disguise fair nature with hard-favoured rage.
*"*.'
On, on, you noble English,
\Yhose blood is fetched from fathers of war-proof !
Fathers that, like so many Alexanders,
Have, in these parts, from morn till even fought
And sheathed their sword's for lack of argument.
Very High [ * see y u stan( ^ ^^ e greyhounds in the slips
and ( Struttting upon the start. The game's afoot ;
Ouick Follow your spirit ; and, upon this charge,
\ Cry God for Harry ! England, and St. George !
The next quality is Force, or Intensity, which is
inseparable from Earnestness. It is the invariable
characteristic of the speaker who, in treating of
important or momentous matters, is himself alive to
his subject, and whose feelings are interested in what
he is uttering. Where life and soul and true passion
are, there must be force both of voice and action ; but
this does not mean loudness or violence.
Force depends upon the pressure of the breath. It
is an entirely different quality from modulation or
pitch. A low key may be accompanied by extreme
force, or a high key by feeble force. Force, under
34 ELOCUTION.
proper management, gives volume and dignity,
whether the tones be high or low. Force relates
to space and power ; loudness relates to distance.
The next point to be noticed is
(3) EMPHASIS.
The importance of it is such that, if it is not placed
on the correct word, the meaning of the passage will
be completely altered, e.g., " Pilate saith unto them,
Take ye Him and crucify Him, for I find no fault in
Him," i.e., Pilate desired them to do, as their own act
and on their own responsibility, what he himself saw
no reason for doing. But if the emphasis be placed
not on " ye," but on " fault," the sense would be that
Pilate told them to crucify Jesus because he was
persuaded of His innocence. Every sentence, or
expression of thought, has some principal word, or
words, which should be emphasized or rendered
prominent by superior accent or stress. Emphasis
points out the real meaning of a sentence. It has
the power to make long and complex sentences
appear intelligible and perspicuous ; but an excess of
it must be avoided.
Emphasis is either " absolute " or " relative." The
former occurs in the utterance of a single thought or
feeling of great energy ; the latter, in the correspon-
dence, or contrast, of two or more ideas. Absolute
emphasis is either "impassioned" or "distinctive."
The former expresses strong emphasis ; but the latter
EMPHASIS. 35
designates objects, eg., "The/<?// of man is the main
object of Milton's great poem." "Relative" emphasis
occurs in words which express comparison, corres-
pondence, or contrast, e.g., Coivards die many times ;
the brave but once.
Words may be emphasized in various ways : by
an increased stress on the emphatic word ; by varying
the inflection, to denote antithesis, doubt, etc ; by
varying the time, that is, lengthening or shortening the
word ; by altering the pitch to express any sudden
emotion, or changing from one note to another ; by
the monotone, to give expression to sublime or solemn
passages ; by the pause.
A repetition of emphatic words, or phrases, requires
a rising inflection, accompanied by increased force of
utterance, e.g., " Yon. ruined my son. You, Sir ! " In
the climax of a sentence there is a gradual increase
of emphatic force in the voice to the end, the last
clause being accompanied by a pause before each
member. When any word, or phrase, is made use of
for the purpose of expressing some particular meaning,
not arising obviously from the words, it should be
marked by a strong emphasis, e.g., " To BE, contents
his natural desire."
In order to exemplify the difference in the meaning
of a sentence by emphasizing certain words, I will
give three examples : " Of man's first disobedience
^ -.:-. . Brought death into the world." By
emphasizing "man's," we imply that there were
originally other beings besides man who had disobeyed
36 ELOCUTION.
the command of the Almighty. By emphasizing
" first," we imply that mankind had transgressed more
than once. By emphasizing "death," we imply that
death had before been an unheard of punishment, but
had been brought upon man in consequence of his
sins. If we emphasize " world," we imply that
mankind knew there was such an evil in oilier
regions, but that the place which they inhabited had
been free from it till their transgression.
Will you go to town to-day ? i.e., Will you, or will
you not go. Will you go to town to-day ? i.e., Will
you, or somebody else go. Will you go to town
to-day ? i.e., Will you go, or will you stay. Will you
go fotown to-day ? i.e., Will you go to, or from, town.
Will you go to town to-day ? i.e., to town, or to some-
where else. Will you go to town to-day ? i.e., to-day
or some other day.
"Perdition catch my soul but I do love thee." If
the word " love" is emphasized, as it usually is, the
peculiar force and beauty of the line are lost ; but
if the word " do " is emphasized, the vehemence
of the speaker's affection is much better marked,
signifying, as it then does, an act of the strongest
affirmation.
The following are given as among the answers
which I have, at times returned to correspondents,
whose guides have, in too many cases, been leaders
or misleaders of the blind.
In the following passage the emphasis is on the
words italicised : " Oh, now you weep, and I perceive
EMPHASIS. 37
you feel the dint of pity. These are gracious drops.
Kind souls ! What ! weep you when you but behold
our Caesar's vesture wounded? Look you here?
here is himself- marred, as you see, by traitors."
In the following the emphasis is not on "men"
(which would imply that you may quarrel with
women), but on "all" (i.e., all mankind). "As much
as lieth in you, live peaceably with all men."
In " Remember that thou keep holy the Sabbath
Day," the emphasis is not on " day," as that would
imply that the "night" might be differently occupied,
bnt on " Sabbath."
It was all very well for Sydney Smith, on one
occasion, to give out as his text " Oh that men
would praise the Lord," when there were only three
men present. He was a born humorist, and the
occasion was exceptional. But it is dangerous to
imitate such a man, and would be apt to lead to
unfavourable comparisons. The emphatic words in
the verse are " praise " and " wonders." " Oh that
men would praise the Lord for His goodness, and
declare the wonders He doeth for the children of
men."
As a general rule, however, the use of the Rhetorical
Pause is preferable to emphasis, as not only not
necessitating an undue effort with the voice, but as
enabling the speaker to regain breath.
(4) THE RHETORICAL PAUSE.
This pause differs from the grammatical pause in
38 ELOCUTION.
this, that the latter refers to the synthetical structure
of a sentence, and is addressed to the eye of the
reader ; while the rhetorical pause is one which is
addressed to the understanding " through the porches
of the ear." It is independent of, though consistent
with and assistant to, the grammatical pause. The
first leading principle of rhetorical punctuation is
keeping together the groups of words between stops,
and not mixing up a word of one group with the
preceding or subsequent group. The duration of
pauses must be regulated by the nature of the
composition, and by the conception, feeling and aim
of the speaker. They are long in solemn, short in
lively, style. Without them, the most solemn passage
of Scripture, and also the poetry of Milton, produce
no effect, comparatively, on the mind ; while reading,
aided by their " expressive silence," seems to be
inspired with an unlimited power over the sympathies
of the soul.*
" One of the worst faults a speaker can have is to
make no other pauses than what he finds barely
necessary for breathing. I know of nothing that
such a speaker can so properly be compared to, as an
*The value of pauses was once exemplified in a somewhat humorous
fashion. Alluding to the expediency of registering a short telegraphic
address for "The House of Commons," a Member created great
laughter by omitting the pause and saying " Could we not say, sir,
Short Commons ?" On another occasion, an actor gave an entirely
wrong meaning to two words, by neglecting a pause. When " Dull,"
a constable, entered and asked, "Which is the Duke's own person? '
the actor replied, pointing to the King, "This fellow."
PAUSES. 39
alarm bell, which, when once set agoing, clatters on
till the weight that moves it is run down. Without
pauses, the sense must always appear confused and
obscure, and often be misunderstood ; and the spirit
and energy of the piece must be wholly lost. It is by
no means sufficient to attend to the points used in
printing, for these are far from marking all the pauses
which ought to be made in speaking. A mechanical
attention to these has been one chief cause of
monotony. In reading, it may often be proper
to make sometimes a considerable pause where the
grammatical construction requires none at all."
The correct reading of a passage often depends on
this pause, as, for example, the following lines from
the speech of Shylock :
" Signer Antonio, many a time and oft
In the Rialto you have rated me."
It may be read either
" Signer Antonio, many a time and oft
In the Rialto you have rated me."
or in the following manner, which is the more effective
and rational way
" Signer Antonio, many a time and oft
In the Rialto you have rated me "
Again, Douglas is often made, by those who pay a
too slavish regard to punctuation, to the ruin of the
sense and the effect, to say :
" We fought and conquered ere a sword was drawn
An arrow from my bow had pierced their chief."
40 ELOCUTION,
instead of
" We fought and conquered ere a sword was drawn,
An arrow from my bow had pierced their chief."
In the following, two different readings may be
given by altering the place of this pause.
" Hang out your banners on the outward walls,
The cry) is' Still they come.' "
or The cry is still " They come."
The last is, perhaps, the preferable reading.
In making the pauses, the voice should be held
suspended to show that something is coming.
Pause after the nominative when it consists of more
than one word, e.g., "The fashion of this world |
passeth away." " To be virtuous | is to be happy."
Pause after the emphatic word, or after each
member of a series, e.g., " Adversity | is the school of
piety." " And Nathan said unto David : Thou |
art the man." " Charity | joy | peace | patience | are
Christian ornaments of the soul."
Any clause or member of a sentence coming
between the nominative and the verb is of the nature
of a parenthesis, and must be separated from both by
a short pause, e.g., " Trials | in this state of being |
are the lot of men." " Talents | without application |
are no security for progress in learning."
Pause after each adjective belonging to one sub-
stantive except the last, e.g., " Let but one brave |
great | active | disinterested man arise."
Pause wherever transposition of phrases may take
PAUSES. 4 1
place, e.g., " Through dangers the most appalling | he
advanced with heroic intrepidity."
Pause before an adjective following its noun, e.g.,
" Her's was a soul j replete with every noble quality."
" He was a man | learned and polite."
Pause where an ellipsis, or omission of words, takes
place, e.g., " To your elders manifest becoming
deference, to your companions j frankness, to your
juniors | condescension."
Pause before a verb in the infinitive, governed by
another verb, e.g., " The General now commanded his
reserve force | to advance to the aid of the main
body/'
Words or phrases in opposition, or when the latter
only explains the former, have a short pause between
them, e.g., " He | raised a mortal to the skies. She |
drew an angel down." " Hope | the balm of life |
soothes us under every misfortune."
Pause before relative pronouns, prepositions, con-
junctions, or adverbs used conjunctively, when followed
by a clause depending on them, e.g., " A Physician
was called in | who prescribed appropriate remedies."
" Death is the season | which brings our affections to
the test" "Nothing is in vain | that rouses the soul."
Pause before that when it is used as a conjunction,
as also before the adverbs wJien and whence, if used in
the same sense, e.g., " It is only in society | that we
can relish these joys which embellish and gladden the
life of man." " 'Tis now the very witching hour of
night | when churchyards yawn."
42 ELOCUTION.
When a pause is necessary at conjunctions and
prepositions, it must be before, and not after them,
e.g., " We must not conform to the world | in its
amusements." " There is an inseparable connection |
between piety and virtue."
The words but and hence, when standing at the
beginning of important clauses, require a pause after
them.
To give an important idea the greatest force, it is
necessary to pause a little before it, in order to pre-
pare the audience for it, and excite their attention ;
and it is necessary to pause a little after it, that it
may have time to sink into the minds of the hearers,
before another thought comes on.
" In pausing, ever let this rule take place,
Never to separate words in any case
That are less separable than those you join ;
And, which imports the same, not to combine
Such words together, as do not relate
So closely as the words you separate."
READING. 43
READING.
I HAVE hitherto dwelt on the Speaker rather than
on the Reader. But while the same rules naturally
hold good for both, the Reader has this one drawback,
that he must sometimes fix his eyes on his book. Let
him, therefore, accustom himself to gather in at a
glance an entire sentence or clause, and then let him
look at his audience, inasmuch as the eyes of a
Speaker have a wonderful effect in attracting and
detaining attention. " There is a rhetoric in the eye."
The expressive power of the human eye is so great,
that it determines, in a manner, the expression of the
whole countenance. Reading is necessarily more
restrained than speaking, but it is advisable to cultivate
acute sensibility in both. Reading should have a dra-
matic character, which is not of necessity theatrical.
Animated, earnest, expressive reading, is not theatri-
cal. It is like the conversation of an earnest person,
thinking to himself aloud ; but if overdone, the charm
is gone. " The sense should be studied thoroughly,
by attention to the various positions of the verbs, and
their nominatives, especially ; then to the conjunctions,
relative pronouns, adverbs and prepositions, as being
the next most important parts of speech. By these
particulars learn and grasp each period, and from
them pass to paragraphs, until you can master the
comprehensive whole of all the matter before you
44 ELOCUTION.
and thus give the ruling passion or prevailing
sentiment" Strive that your reading shall seem as
little like reading, and as much like speaking, as
possible. " The objection to reading sermons, simply
because the preacher has never been taught the proper
style of reading, has seriously impaired their quality ;
but the cure for bad reading is good reading, and, as
all men cannot be orators, they should be all the
more careful to read oratorically ; and if students were
trained properly in this art, the sermons would
certainly become improved, and the preachers would
cease to be characterised as the most ineffective of
speakers."
Dramatic Reading. By this, says an able writer on
public speaking, I do not merely mean the reading of
the drama, whether it be or be not a drama in name
or form. Wherever there is dialogue there is drama.
Two human beings cannot be brought into communica-
tion without a drama being enacted. For the rig/it
reading of dialogue you must, first, comprehend
distinctly the characters supposed to be speaking in
the drama. Next, you must thoroughly understand
the meaning of the words the author has put into
their mouths, that is to say, what thoughts those words
were designed to express. This fancy portrait will
suggest the manner of speaking. Then, clearly
comprehending the meaning of the words, and feeling
the emotions, and thinking the thoughts, you will
naturally utter them in the right tones and with the
true emphasis. Until you have attained to the ready
READING VERSE. 45
use of this faculty of personation, you cannot be a
good reader of dialogue.
A few words on Reading Verse, than which, as
De Quincey says, " No accomplishment is so rare.'*
It is evident that a thorough grasp of the meaning and
often the grammar of a sentence, as well as some little
practice, will be needed before the reader acquires the
habit of separating and grouping his words correctly.
Several amusing instances are recorded of the various
readings which have, on various occasions, been
popularly received in consequence of absurd errors in
this respect. For example, Macbeth has been made
to say :
" Will all great Neptune's ocean wash this blood
Clean irom my hand ? No these my hands will rather
The multitudinous sea incarnadine
Making the green-one red."
By reading it rationally and making the pause, as it
ought to be made, after " green " " making the
green one red " we express the full power and
beauty of the thought. Another passage is :
" West of the town a mile among the rocks
Two hours ere noon to-morrow I expect thee."
Read thus, the idea is conveyed, if the words read
thus can convey any idea at all, that they would have
to scramble a mile over rocks, situated at the west of
the town, instead of the rational idea that the place of
meeting was among some particular rocks " west of
the town a mile."
The principal faults to be guarded against are :
46 ELOCUTION.
<i) A see-saw mode of reading the accented and
unaccented syllables. (2) The use of monotone, to
the prejudice of emphasis and expression. The
tone of the voice should be changed with every change
in the thought to be expressed. (3) The sing-song
recurrence of metre ; the rhyme should always be
subordinated to the sense. (4) Emphasizing mono-
syllables, such as prepositions, articles, etc., having
regard more to sound than to sense. The article
" the " ought never to be too marked, even when
placed where the ear expects an accent.
' ' Of all the causes which conspire to blind
Man's erring judgment, and misguide the mind,
What the weak head with strongest bias rules,
Is pride, the never-failing vice of fools."
A badly trained reader would lay the stress on " the "
in the third line; but a good reader would transfer
the stress to the words " what " and " weak." This
rule, however, with respect to the place of the accent,
admits of some few exceptions. Milton sometimes
places words so unfavourably for pronunciation in the
common way, that the ear would be more jarred by
the harshness of the verse, if the right accent was
retained, than with a wrong accent which preserves
the rhythm. Thus, in Paradise Lost, viii. 153, the
angel, reasoning with Adam about the planets, says :
" For such vast room in Nature unpossessed
By living soul, desert and desolate,
Only to shine, yet scarce to contribute
Each orb," etc.
BLANK VERSE. 47
The word " contribute " has properly the accent on
the second syllable ; but the verse would be so
harsh with this accent, that a good reader would, for
the sake of the rhythm, lay the principle accent on
the first syllable, and a subordinate stress on the
third.
In reading Blank Verse, care ought to be taken on
the one hand, not to end every line with a pause, and
on the other hand, not to run one line into another
more rapidly than if they were prose.
" Foremost of all," says Lady Martin (Helen
Faucit), "care should be taken that actors of all
grades should have been trained to speak blank verse
correctly, and while giving the meaning to give the
music of it also. It is sad to see the reckless
ignorance which now prevails, and to note to what
a level of feebleness and commonplace the repre-
sentation of Shakespeare has, with some notable
exceptions, been reduced by that nerveless and
colourless thing, mistakably called 'natural acting.'
Thus it is that Shakespeare's plays are continually
being reproduced ; and yet their very essence is left
out, unheeded by the actors, and, alas ! as much
unheeded by the audience. Of what account is
elaborate scenery, or dresses that will satisfy the most
squeamish archaeologist, if those who wear the one or
move about in the other are untrue to the characters
they profess to represent, and dead to the significance
and the beauty of the language they have to speak."
48 ELOCUTION.
WANT OF EXPRESSION IN ELO-
CUTIONWHO IS TO BLAME?
THE Professional Musicians have formed themselves
into a National Society, one of the objects of which
is to confer on members a species of certificate as
to technical capacity. There are swarms of teachers
who are utterly ignorant of the very elements of
their art, and who bring disgrace upon what is
necessarily, in a certain sense, an educated and
cultivated profession.
Would that something of the kind could be done
in reference to those who hold themselves out as
Teachers of Elocution. If the majority of them
would read a leading article, which recently appeared
in the Times, they would find and, perhaps, might
take to heart the following sentence, applied to men
of higher standing and attainments than most of
them can boast of: "There is more bad teaching
than good teaching, and the majority of teachers
are no better than indifferent." In proof of my
assertion that most of them are ignorant of what
they profess to teach, I will state that I have more
than once been told that in articulation and in-
flexions about which last, by the way, many of
them know practically as little as a hen knows of
its grandmother was comprised the whole secret
of the Art of Elocution. Such qualities as expres-
EXPRESSION. 49
sion, grace, intelligence, feeling, spirit, etc., seem to
be either despised or ignored. Without these attri-
butes, reciting simply resolves itself into a feat of
memory; and it is probably for this reason that
recitations, which, when well given, are so much liked,
have added a new terror to life when uttered by those
who almost ostentatiously manifest that indifference
to the graces which alone render them tolerable.
When attacked, Reciters, as a rule, defend them-
selves by saying that Elocution cannot be taught.
They are right so far, that, unless a person has a
soul, all the teaching in the world will not put one
into him ; but training can do as much for a person
who aspires to become a public speaker, as for one
who wishes to be a vocalist, and to say the contrary
argues either ignorance or conceit. Diffidence is not
generally a vice inherent in human nature, but it
seems to be more conspicuous by its absence in those
who hold themselves out as reciters, than even in
vocalists, who certainly cannot be accused of a want of
self-assertion ; because even the most self-complacent
vocalist knows that at least a certain amount of
preliminary training is requisite, whereas the would-be
reciter, if he has only committed some pieces to
memory, the longer the better, feels ready to echo
King John's boast
" Come the three corners of the world in' arms,
And we will shock them ; "
and the result most frequently is very shocking.
Training can bring out and direct aright what is
5
50 ELOCUTION.
latent, crude, unpolished, or rough ; which brings me
back to what I began with, that a man can teach
only what he knows.
LIFELESS DELIVERY.
ONE of his fighting heroes is described by the Greek
poet Homer as " sending his soul in every dart he
threw." He did not merely send or hurl the dart, but
he hurled it with all his soul and strength. I would
impress these words upon all who have to speak
before public audiences, whether as Members of
Parliament, Preachers, Lecturers, Actors, or Reciters.
Now, I am not going to depreciate Elocution. I
admit nay, more, I maintain that no one can be a
really good actor ; no man can preach a sermon in
such a manner as to excite the interests of his hearers,
or leave any impression on their minds ; no public
speaker, whether on the platform or in a court of
law, can persuade his hearers, or prepossess them ;
no one can give a good poetical or prose recitation
in such a manner as to cause even the minimum
of pleasure, without being a good Elocutionist.
What was thought of Elocution by Rachel, perhaps
one of the grandest actresses who ever appeared
on the French stage, is proved by the fact that she
studied with her Elocution Master, Legouve, a certain
passage of thirty lines for three hours, until she had
mastered every shade of inflection, before she con-
sidered herself prepared to face her audience.
LIFELESS DELIVERY. 5!
Clearness of articulation, modulation, right em-
phasis, proper inflections, correct pronunciation,
appropriate and graceful gestures, are all required
by public speakers. But, assuming that all these
necessary qualities have been acquired, there is
something more needed, and that is soul and ear-
nestness. The most gifted actors and reciters,
unless they have soul, will fail to please as much
as they would otherwise do. I will assume that
there is not a single person who reads this who
has not, at least once in his or her life, got into
a passion. At all events, if anyone will deny
this, I will reply either that I do not believe
it, or else that such an abnormal and apathetic
nature is incapable of understanding, and still less of
appreciating, what I want to impress on my readers.
Well, have you not felt, at such a time, that you had
a strength and a force, and even an eloquence, of
which you had before not thought yourselves capable,
and at which you may even look back with surprise ?
Why is this ? Simply because you had, for the
time, lost your usual phlegmatic condition ; be-
cause your feelings were excited ; because, in
short, you felt intensely. I must, however, remind
you that violence is not soul ; it is only physical
exertion. But intensity, being more of a mental
quality, is a very good imitation of soul, and, in fact,
necessarily implies a certain quantity of it.
Now, in acting and reciting and in the following
remarks I speak more especially of those who practise
$2 ELOCUTION.
these Arts you have to personate characters who
are supposed to be actuated by such various feelings
as kindness, love, anger, malice, jealous)', dignity, &c.
Do not, then, act these various characters as if there
was but little difference between them ; do not act
them as if you were merely repeating words, or as
if you did not know or feel the difference between
the various characters you were depicting ; but act
them as if you really felt what you were saying.
Loose yourself in your character. Put life and soul
and heart into your impersonations. I have heard
that soul-stirring poem, " The Revenge," recited in
such a listless and soulless manner as to excite no
feeling in me but indifference, or rather annoyance
that the reciter was not doing justice to the words
and the spirit of the poem. And I have heard the
" Defence of Lucknow" which, with all due de-
ference, I consider too wordy and long-winded and
therefore losing, by so much, in point and fire
given in such a manner as to send, at one moment,
the blood to my cheeks, and, at another, the tears to
my eyes. But this sin of flabbiness is not confined
to Reciters. It is one of the greatest failings of
the Stage in the present day. And so universal
appears to be the craze on the part of Actors for
that " nerveless and colourless thing mistakenly
called ' natural acting ' " that they refuse to recognise
the right of the public to what it can appreciate
life-like acting. The hearty applause with which the
public greets any actor who displays animation and
LIFELESS DELIVERY. 53
vivacity seems to be beyond the comprehension of
those who think they know better what the public
ought to like than does the public itself. I have also
sometimes heard Actors say, " What is the use of
worrying myself about my part ? It is only a small
one ; " or, " the others are such a set of duffers."
This is a mistake. No matter how small your part
may be, try to make the very most of it you 'can,
without, however, overdoing it. Try to play it as
well as ever you can. Your effort will, in the first-
place, be recognised and appreciated by the audience
and the critics, and, in the second place, your effort
will most probably stimulate the others and cause
them to play up to you. Charles Reade, in noticing
some rather slighting criticisms on Foul Play, " as a
piece which was respectably written, but poorly
acted," after standing up manfully, as he always did,
for those who served him loyally, concludes with these
words " I hope that, should your critic re-visit the
theatre, he will come round to my opinion that Foul
Play owes a large share of its success to the talent
and zeal of the performers, and especially of those who
play the small characters."
54 ELOCUTION.
PULPIT ELOCUTION.
PASSIVE resistance is of all forces the most difficult to
overcome. This is, perhaps, most clearly seen in the
case of Elocution in the Pulpit. Clergymen generally
appear to be so absolutely convinced that whatever
they say there will be attentively, and ought to be
submissively, heard, that it but seldom occurs to them
to consider the manner in which it should be de-
livered. During any of the ordinations, how many
can read the prayers, or deliver a sermon with grace,
dignity, or impressiveness ? I will undertake to say
not five per cent.
The reading of the Liturgy and the Sermon present
too often a lamentable want of the very elements
of rational and intelligent reading or speaking.
Modulation is often ignored ; while the inflections are
mangled and distorted in the most reckless manner,
sometimes to the partial obscuring and even altera-
tion of the sense. At one church we hear the prayers
gabbled through ; at another, mumbled through ; at
a third, drawled through ; at a fourth, ranted through.
These defects are more noticeable in the Prayers ;
but in the Sermon they none the less exist, with one
of three results either that few persons listen to the
Sermon ; or that they are less impressed by it than
they would be if the preacher had a good delivery ;
or that they stop away. As for the gestures which
PULPIT ELOCUTION. 55
I have seen in the pulpit, words fail me to describe
them.
Quite recently I attended the funeral of a man for
whom I had the greatest regard, but the Burial
Service perhaps the most sublime composition in
the English language was read in such a drawling,
soulless manner, as not to touch me at all ; while
upon only one occasion have I really been moved by
the dignity, the pathos, the grace, which were infused
into that service by the reader. Among my latest
experiences of pulpit elocution was that of a clergy-
man an able man, of good education and family
who apparently did not know what to do with his
voice. His ideas of modulation and inflection were
so vague if, indeed, he knew anything of them at all
as to render several of his sentences ludicrous,
while his reading of the prayers was such as to cause
one's attention, instead of being fixed on them, to be
distracted by a mental criticism of his mode of
reading them. Another clergyman seemed not to
know what to do with his body. For the first part
of the sermon, he stood leaning forward on his two
hands, an injurious as well as ungraceful attitude,
swaying and jerking . his body about in the most
extraordinary and unmeaning manner. After warm-
ing to his work, he indulged in occasional gestures,
which were, in almost every case, both ungraceful and
wrong. If clergymen could only realise the feelings
of most of their auditors, they would, I should hope,
adopt the advice of some of the ablest and most
56 ELOCUTION.
eloquent members of their own body Rev. Charles
Simeon, Archbishop Thomson, Professors Blunt, Blair,
Rev. Dr. Guthrie, etc. who have taken care to im-
press upon them advice similar to that given by Dr.
Johnson to a young clergyman " Delivery is more
potential than eloquent matter." And the Rev. John
Wesley, the celebrated preacher, said : " Take care of
anything awkward or affected in your gesture, phrase,
or pronunciation." The young divinity student spends
years in training his faculties and storing his mind
with knowledge of all kinds. The great object of his
life is to communicate thoughts to the minds of others,
to awaken their feelings, to arouse and direct the
determination of their wills. And yet the means by
which he can best carry out his views are sedulously
neglected. Of course, no amount of elocutionary study
will alone make a man a good preacher ; but, assuming
that a young man has those attainments of mind and
qualities of character which fit him for the ministry,
the study of Elocution, under an intelligent teacher,
will enable him to bring out, in an attractive form, the
thoughts and emotions which are already in his mind.
To overlook manner is a proof neither of piety,
dignity, nor wisdom. Until the preacher has this power
of expressing, through voice and manner, what is in
him, no matter how wise and good he may be, he will
be unfitted for his office. Indistinct articulation, false
tones, wrong emphasis, an undeveloped and im-
properly managed voice, a lifeless, unmeaning manner
THE. PRAYER BOOK. 57
and delivery, are to the preacher what bad grammar,
a scanty vocabulary, inelegant and confused sentences
are to an author. " Not one clergyman in a hundred,"
says an able writer, "can read a chapter correctly
meaning by that term, with right expression of the
sense as distinguished from the graces of expression.
Not one in a thousand can read effectively as well as
correctly. So with the Prayer Book. How seldom
are the services delivered as they should be
The services, recited so often, come so readily to the
lips of the clergyman, who reads them three or four
times a week, that there is a natural tendency to
utter them mechanically, without first passing them
through the mind. Hence the mannerisms of which
he is so unconscious. As once read, so they are
always, and if the habit be not early wrestled with, it
becomes incurable. The only remedy is the presence
of an inexorable critic, who shall stop you when you
are faulty, and make you repeat the sentence till you
read it rightly ; or an able professional teacher, who
will not merely detect your errors, but show you how
you ought to read, and thus substitute his style for
yours. Mannerism is more frequent in reading the
Prayers than even in the reading of the Bible. The
groaning style is the favourite one. Why should it
be deemed necessary to address the Deity as if you
had a stomach-ache ? Yet thus do ninety-nine out of
every hundred in the pulpit or in family prayer.
There is a tone of profound reverence most proper to
be assumed in prayer, and which, indeed, if the prayer
58 ELOCUTION.
is felt at the moment of utterance, it is almost im-
possible not to assume. But that is very different,
indeed, from the sepulchral and stomachic sounds
usually emitted."
" One thing has been clearly demonstrated," says
the late Rev. Henry Christmas, F.R.S., Editor Church
of England Quarterly Review, " that if manner be not
of as much importance as matter, it ought at all events
not to .be .neglected. But is a good manner in the pulpit
a thing to be acquired ? Can the stiff, dry, cold way of
one man be transformed into stately dignity ; the
loose, slovenly, lounging deportment of another, into
graceful ease ? Are there instructors who would be
of assistance in accomplishing such transformation?
We reply to all these questions Yes. Not, indeed,
in all cases, but in the great majority. A poor soil
may be cultivated, and a poor mind, within certain
limits, enriched. A person already placed in the
position of a clergyman, and for whom it is too
late to say, 'I am unfit for my office,' may yet be
rendered far more fit for the office than perhaps he
himself even suspects. It is understood that he is
a conscientious man ; that he studies, prays and
diligently performs those routine duties which some
exalt as being the loftiest and most important which
devolve upon him ; but he is discouraged by finding
his inefficiency in the pulpit so conspicuous as it is.
He is candid enough and intelligent enough to see
this, and earnest and faithful enough to deplore it.
Let not a man so situated despair. The case of
PULPIT ELOCUTION. 59
Demosthenes may comfort him, and the means used
by that greatest of orators may have a similar effect
upon him." Let him declaim before a looking-glass,
and see for himself how awkward, unnatural and
strained is his delivery ; let him obtain the aid of
some intelligent and plain-spoken friend to criticise
him as he proceeds, "and he will soon find that a
rough, coarse, slovenly, or a stiff, stilted, unnatural
manner and action are not incurable evils. It may
be objected that all this is troublesome. Of course
it is, and, if the services of a competent instructor be
secured, expensive too ; but the results will be well
worth paying for. The person previously so justly
dissatisfied with himself will begin to find his useful-
ness increase ; and if he dare not hope that he shall
find ' truths divine come mended from his tongue,'
at least he will find them come, not deformed or
disguised."
Preachers, however, fear to study Elocution, because
the result may be, and in the hands of certain
teachers seems to be, the acquiring an artificial
manner. They seem to think that it is better to be
ineffective than artificial. But this feeling, though
right and commendable, is founded on an entire
misconception of the purpose of studying the Art of
Elocution, the object of which is, shortly, to make the
speaker pay more attention both to the meaning of
what he is saying and to the manner in which that
meaning should be conveyed to others. The object
of the true teacher is, not to teach the pupil to feign
60 ELOCUTION.
feelings, but to develop his powers of expression, and
make him better able to represent what he actually
feels. Such faults of manner as are to be observed in
almost every preacher ought to be eradicated, for in
what else, except public speaking, does a man ever
take credit for not attempting to do well what is the
chief business of his life ? And yet there are those
who boast of never having studied Elocution, as if
such neglect was meritorious, and as if those who
pursued a different course rendered themselves open
to the suspicion of insincerity and self-seeking.
The Rock, in noticing the above says : " Mr.
Garry's paper on Pulpit Elocution contains some
sound advice, and some caustic criticism ; but do
ninety-nine out of every hundred clergymen, in
reading the Prayers, address the Deity as if they had
the stomach-ache ? " This statement is not mine, but
that of a man whose eloquence draws together
larger congregations than almost any Church of
England clergyman can point to.
I heard a clergyman recently, when reading the
Prayer for Parliament, emphasize the word " and " in
the expression " peace and happiness, truth and
justice, religion and piety." Another read his sermon
in a tone of stilted affectation. A third intoned the
Prayers in a manner which promised him a speedy
experience of " clergyman's sore throat." As has been
said, " As it is much easier to intone the Service toler-
ably than to read it tolerably, many young clergymen
attempt to intone. The result frequently is a good deal
INTONING, 6l
of harsh, dissonant sound, very annoying to those among
the congregation who are gifted with musical ears."
" Mr. Rupert Garry, in a little volume just published
by him, tells us that he recently heard a clergyman,
in reading a Prayer for Parliament, emphasize the
conjunctions on each occasion in the expression,
' peace and happiness, truth and justice, religion and
piety.' It would, perhaps, be hard to say whether
this was a worse offence than that of the young lady
who, in playing ' Ophelia,' asked her brother not to
show her ' the steep and thorny way to heaven,' with
such special emphasis on the adjectives that, as some
one observes, it might be thought there was a secret
'primrose path' leading in the same direction, which
' Laertes ' was selfishly reserving for his own private
use. Perhaps the clergyman's misplaced emphasis
may have been ' meant sarcastic/ but was certainly
mischievous ; for these are not times in which it is
advisable to suggest that in Parliament peace and
happiness are very different things. As to the implied
disassociation of ' truth and justice, religion and piety,'
everyone must judge for himself. Mr. Garry's com-
plaints of the tone of ' stilted affectation ' in which
some preachers deliver sermons, and the painfully
unsuccessful efforts of others to intone, belong to a
different category. They will awaken painful
reminiscences among the members of many afflicted
congregations." Daily News Leaderette, 2 Feb., 1888..
62 ELOCUTION.
HINTS TO AMATEUR ACTORS.
WHEN it is almost impossible to open a local paper
without finding a notice of some amateur dramatic
performance, it may not be altogether a matter of
supererogation to offer a few remarks and even to
give a little good advice on the subject of Amateur
Acting. One fault of amateurs is that they too
frequently select pieces, not on account of their
suitability to the company which intends to play
them, but because they have seen them represented
on the professional stage. Consequently, they try
merely to copy what they have seen, with the almost
inevitable result that they fail much more than if
they had studied, for themselves, the character allotted
to them, forming their own ideas upon it, and acting
upon those ideas. No doubt some might fail from an
inadequate, or even a wrong, conception of the
character, as is often the case among more experienced
professionals ; but yet the acting would be less stiff
.and unnatural than when it is simply the result of
imitation. If amateurs followed this plan, and worked
with zeal as well as intelligence, we should see, not
only much less staginess and awkwardness, but per-
haps even more freshness and originality in the
delineation of character. Aspirants, whether amateur
or professional, should endeavour to form their own
style. To become a servile copyist, a mere imitator
AMATEUR ACTOR. 63
or mimic is to stifle the individuality which belongs to
each person, and which, when properly developed, alone
ensures excellence; but without elocutionary study
and a knowledge of declamation, none can arrive at
real excellence.
It was after writing this I came across the following
by Mr. Henry Irving, in a speech made at the close of
his reading for the School of Expression in Boston.
He said : " Good acting is not declamation, but the
expression of character, and the actor's aim is not to
imitate this style or that, but to cultivate his own
resources of impersonation. It appears to me, while
not claiming to be an authority, that the danger in
teaching elocution is that some formal and artificial
method should supersede nature. But in this school
you seek to avoid that danger by the recognition of
the principle that all good speaking comes from the
training of the faculties of the "mind."
In a leading literary paper I found the following :
"Let the amateur actor select with what discrimina-
tion he may from among the plays known to the
public, but give the time and labour he now expends
on learning the tricks of some favourite model in the
profession to forming his own conception and a style
of his own. He must not flatter himself that he will
be able to do this on the spur of the moment He
will have to study acting instead of confining his
observations to one actor, and to do so with advantage
he must use all his intelligence and powers of dis-
crimination. But he will also find it much more
64 ELOCUTION.
interesting, and when he has succeeded in making a
character his own, he will probably succeed in repre-
senting it with ease and fidelity." The usual plan,
however, is for amateurs to place themselves in the
hands of a professional actor so long as he is
" professional " they do not seem to care whether he
is capable or incapable by whom they are crammed
with his own notions on one particular play. The
result can be imagined, so that the outside public
scrupulously avoid amateur dramatic performances.
A small book recently published by George Bell
and Sons, containing a list of 100 plays, entitled,
" What Shall we Act," by M. E. James, will prove an
excellent guide to the selection of suitable plays for
amateurs. In addition to those mentioned there, the
following will be found well adapted for the same
purpose : A Morning- Call, by Dance, I m. I f. ;
Tivo ddock in the Morning, by C. J. Matthews,
2 m. ; Happy Pair, by Theyre Smith, I m. if.;
Which is Which, by Theyre Smith, 3 m. 3 f. ; The
Dumb Belle, by Bernard, 3 m. 2 f. ; Barbara, by
Jerome, 2 m. 2 f. ; /;/ Honour Bound, by Grundy, 2 m.
2 f. ; Who Speaks First, by Dance, 3 m. 2 f. ; Hearts
are Trumps, by Lemon, 6 m. 2 f. ; All is not Gold that
Glitters, by Morton, 6m. 3 f.; Poetic Proposal, 3 m. 2 f.
FARCES. Tom Noddy's Secret, by Bayly, 3 m. 2 f. ;
A Merry Moment, by Lestocq, 3 m. 2 f. ; Chiselling,
by Dalley, 3m. 2 f . ; The Bengal Tiger, by Dance,
4m. 2 f.; The Windmill, by Morton, 4m. 3 f . ;
Stage Struck, 5m. 3 f, ; High Life Betoiv Stairs,
PLAYS FOR AMATEURS. 65
6 m. 4 f. ; A Day Well Spent, by Oxenford, 6 m. 5 f. ;
A Blighted Being, 4 m. i f. ; Kleptomania, by Mark
Melford, 6 m. 5 f. ; Engaged, by W. S. Gilbert,
5 m. 5 f.
While for those who want to play merely short
scenes in drawing-rooms or at miscellaneous enter-
tainments, the following may be found useful. A scene
for lady and gentleman from A Morning Call
(itself a bright one-act comedietta for m. and f.),
" So, my gentleman, I am to surrender
There will come a day of reckoning." Short scene for
lady and gentleman from Time Tries All, by
Courtney, " I want to see the governor
savings bank." Scene for two gentlemen from The
Poor Gentleman (comedy), by Colman. Scene for one
gentleman and two ladies, from Perfection (comedy).
Sc. 4, " Servant shows in Sir Charles (p. 17) . . .
. . to a fraction of a woman " Scene for one lady
and gentleman, from The Honeymoon (comedy), by
Tobin, Act II, Sc. I, which can be run into Act II. Sc. 4.
Scene for one lady and two gentlemen from Betsy
Baker (farce), " Too attentive by half (p. 6) ...
. . too late from Mrs. Major-General Jones."
Scene for one lady and one gentleman, from TJte
Unfinished Gentleman (a farce), by Selby, Scene I.
Scenes for three gentlemen, from John Bull, by Colman,
Act I., Sc. 2 ; also, Act III. Sc. 3 (down to " it's the most
uneasy for you of any in the room ") ; for four gentle-
men, Act. I., Sc. 4, " Don't take on so must
ever meet their recompense," Scene for one lady and
6
66 ELOCUTION.
one gentleman from The Love Chase, by Knowles,
part of Act II. Sc. 3. Scene for one lady and two
gentlemen from TJte Victor Vanquished (comedy),
by Dance, " I have been fooling a life
of far more value than my own." Scene for two
gentlemen from The Wife, by Knowles, Act. IV.
Sc. 3. Scene for two gentlemen from Man of the
World, by Macklin, " Zounds, sir, I will not hear a
word about it boasted liberties of
the Great Mogul." Scene for one lady and one
gentleman from The Hunchback, by Knowles, Act IV.
Sc. I. Scene for two ladies and three gentle-
men from Black-Eyed Susan, Act I. Sc. 2. Smart
little scene for one lady and one gentleman from
Money, by Lytton, Act III. Sc. 5. Short scene
for one lady and two gentlemen from The Rent Day,
by Jerrold, Act I. Sc. 3. Scene for four ladies and
two gentlemen from Time Works Wonders, by
Jerrold. Scene for two ladies and one gentleman
from The Rivals. Scene for two gentlemen from A
Blighted Being (farce), by Taylor, " Halloa ; here's the
latest news Can you trifle thus
with a misery like mine." Scene for one lady and
two gentlemen from The Heir-at-Law, by Colman,
Act I. Sc. i, "But what does it matter . .... .-
. . . I attend your lordship." The part of " John,"
which is very small, can be cut out. Scene for two
gentlemen, Act II. Scene 2, " Let the chariot turn about
I'm gone." The waiter can be supposed
to be " off." Scene for two ladies and one gentleman
AMATEUR ACTORS. 67
from The Lady of Lyons, by Lytton, " Sweet Prince,
tell me again of thy palace," Act II. Sc. I, on again to
Act III. Sc. 2. Scene for one lady and one gentleman
from The School for Scandal, by Sheridan.
(l) Have a good stage manager, who must be good-
tempered and firm, but not good-natured and obsti-
nate. Let him show that his will is law, and that
his arrangements must be carried out. If he does
not prove fit for the duties, if he is always altering
the arrangements of the previous day, he should at
once be superseded by some competent person.
Such changes are not only extremely irritating, but
are absolutely confusing to the actors, and detrimental
to the smooth performance of the play. Audiences
quickly spot defective stage management and want
of careful and intelligent rehearsals. The stage
manager ought to be strong enough to restrain the
ill-regulated enthusiasm of those who, having but
small parts, want to obtrude themselves on the audi-
ence. To play a small part properly at first is the
only way to learn how to play bigger parts after-
wards. Modesty, patience, and perseverance should
be the motto of all actors N.B. The stage manager
should never take a part in the play. (2) Then get a
good prompter, whose duty it should be to attend
every rehearsal, for he ought to study every actor so
as to learn their peculiarities and their " business,"
also, when a pause is made, to know whether it is
intentional and done for effect, or is due to failure of
memory. He should also have his copy carefully
68 ELOCUTION.
and clearly marked with notes as to entrances, exits,
" business," and above all he should have the actors
ready at the wings to go on at the exact instant. (3)
Let each performer learn his part by heart as quickly
and correctly as possible, so that the entire attention
may be given to the performance of the character,
otherwise the piece is foredoomed to failure. There
should be as many rehearsals as possible, the last two
to be dress rehearsals, when the play should be acted
exactly as it is to be before the audience. In the
case of amateurs, every effort should be made to have
the entire company present on each occasion. All
" business " and by-play should be carefully explained
by each actor, otherwise confusion will be the result.
Above all, the performer should not be satisfied
with being merely what is called " letter-perfect." He
should study the character he is to represent carefully,
trying to become the character as closely as possible.
" No committing of the piece to memory will be of
service," says Goethe, " if the actor has not, in the first
place, penetrated into the sense and spirit of the
author, the mere letter will avail nothing." He must
work up in his own mind the feelings which are
supposed to actuate him at each moment, and he
must never trust to the spur of the moment. A well-
known teacher of Elocution and Dramatic Art once
told me that he always trusted to the inspiration of
the moment, and many persons, for fear of becoming
mechanical, practically follow out his advice, with the
natural result. Mr. George Henry Lewes, a most
ELOCUTION. 69
able dramatic critic, says : " What is called inspira-
tion is the mere haphazard of carelessness or incom-
petence ; the actor is seeking an expression which he
ought to have found when studying his part. What
would be thought of a singer who sang his aria
differently every night ? In the management of his
breath, in the distribution of light and shade, in his
phrasing, the singer who knows how to sing never
varies. The timbre of his voice, the energy of his
spirits may vary ; but his methods are invariable.
Actors learn," or ought to learn, "their parts as
singers learn their songs. Every detail is deliberate,
or has been deliberated. The very separation of art
from nature involves this calculation. The sudden
flash of suggestion, which is called inspiration, may
be valuable, it may be worthless ; the artistic element
estimates the value, and adopts or rejects it ac-
cordingly. Trusting to the inspiration of the moment
is like trusting to a shipwreck for your first lesson in
swimming."
Hazlitt, perhaps the ablest of dramatic critics,
says : " We think it a rule that an^ actor ought to
vary his part as little as possible, unless he is
convinced that his former mode of playing it is
erroneous. He should make up his mind as to the
best mode of representing the part, and come as
near to this standard as he can in every successive
exhibition. It is absurd to object to this mechanical
uniformity as studied and artificial. All acting is
studied or artificial. An actor is no more called
7O ELOCUTION.
upon to vary his gestures or articulation at every
new rehearsal of the character than an author can
be required to furnish various readings to every
separate copy of his work. To a new audience it
is quite unnecessary ; to those who have seen him
before in the same part it is worse than useless.
They may, at least, be presumed to have come to
a second representation, because they approved of
the first, and will be sure to be disappointed in
almost every alteration. The attempt is endless, and
can only produce perplexity and indecision in the
actor himself."
Speaking of Monnet-Sully of the Comfcdie Frangaise,
Mr. Brander Matthews says : " He can act merely as
he feels, and his feelings change from day to day. He
rarely plays the same parts twice alike, and this is a
sure sign of imperfect art ; for when an actor has once
found the proper emphasis, the proper tone, and the
proper gesture for a phrase, he should always seek to
give the phrase just that emphasis, just that tone, and
accompany it by just that gesture. At one time he
may be able to do it more efficiently than at another,
but he should always try to do this." This is so self-
evident that I would not notice it at all, were it not
that some of our actors, and even some of our drama-
tic teachers, entertain an opposite view, with the result
that the acting on the English stage is unequal and
very often flabby.
There are two points to which I would wish to
draw particular attention, as they are always a sign
ELOCUTION. 71
of bad stage management, and are extremely apt to
prejudice an audience, disposing it to be more
critical :
(i) The curtain shall be rung up promptly at the
time stated ; and (2) the " waits " between the acts
should be as short as possible. A " wait " should
never be more than ten minutes, six or eight is best ;
and the orchestra should have strict orders to play
during the entire interval.
VOICE ORGANS. i, Channels of the Nose ; 2, Hard Palate ; 3, The Tongue ;
4, Nostril ; 5, Larynx (Glottis is the slit between them) ; 6, Ventricle of Larynx ;
7, Vocal Cords ; 8, Trachea (Windpipe) ; 9, Upper part of Epiglottis ; 10, Uvula,
or soft end of Palate (\ax or pendant); n, Eustachian Tube, opening to the ear;
12, Pharynx.
THE VOICE. 73
THE VOICE.
"All public speakers, as well as singers," says Lennox Browne,
"should receive scientific training in the mechanism and right em-
ployment of the organ of voice. It is precisely here, on the threshold
of their art, that many elocutionists fail. They occupy themselves with
articulation, pronunciation, intonation, modulation, emphasis, and
gesture" ? gesticulation "and having but little, if any, physio-
logical knowledge, are therefore unable to form a true basis of voice-
production. It is clear that a teacher of singing or of elocution who
is thoroughly and practically acquainted with the anatomy and physi-
ology of the parts, over which he is to give his pupils control is,
other qualifications being equal, in a position to produce better
results than one who is deficient in such skill."
" The knowledge of the Vocal Organs is always very useful to the
singer, and in many cases indispensable to the teacher." Tost.
FOR a speaker or a singer to have a complete
scientific knowledge of the vocal organs would not
only be unnecessary but useless. But a simple
outline of their construction and connection with
each other is necessary, in order that the pupil
may understand the explanations which every
teacher ought to give when demonstrating how
the voice may be best produced and controlled.
The principal Vocal Organs are (i) The Dia-
phragm and Midriff, (2) The Lungs, (3) The Bronchial
Tubes, (4) The Trachea, (5) The Vocal Cords, (6)
The Mouth.
(i) The Diaphragm., an elastic dome-like muscle
between the thorax and the abdomen. Its principal
74 THE VOICE.
vocal function is that of expanding and contracting
the lungs in respiration. In expiration, the dia-
phragm ascends, presses on the lungs, and drives
them towards the throat.
Practise drawing in and expelling the breath
sometimes slowly, continuously, gently and equally ;
at other times, more rapidly and forcibly. Never do
this on a full stomach but say about an hour after
each meal or with a tight belt round the waist
Tight lacing is very bad, as it interferes with the
free play of the lungs, and impairs the vocal powers.
Take plenty of physical exercise so as to keep in
good health.
Practise holding the breath after a deep inhalation
for several seconds before letting it go. This exercise
strengthens the lungs and gives control over the
breath.
(2) The Lungs may be said generally to depend
for their power on the quantity of breath they are
capable of receiving. They are just above the dia-
phragm, and consist of two conically-shaped bodies,
lying in the cavity of the chest, which are composed
of a vast multitude of little vessels, or hollow air
cells, into which the breath pours when the chest
is expanded, and from which it is expelled when the
chest is contracted.
Exercise them, when standing upright, by inhaling
the largest possible draught of pure air nothing will
compensate for an imperfect supply to the lungs of
pure atmospheric air. Let the breathing be deep and
THE LUNGS. 75
tranquil, but such as to cause the chest to rise fully
and fall freely, and at every effort fill the lowest cell
of the lungs. The expansion of the lungs depends
on the size and expansibility of the thorax, and
therefore, every effort should be made, by means
of suitable exercises, to make the chest capable of
expansion. The chief function of the lungs is the
removal of the carbonic acid from the blood, and the
introduction of oxygen.
For those with weak lungs, or who have any
impediment in their speaking, practise whispering,
in which the words are articulated simply by the
action of the mouth and fauces, no vocal tones being
produced. The practice must, however, not be too
frequent or too long-sustained, as it requires a greater
number of inspirations and an increased force in ex-
piration.
Weak voices may be strengthened by inhaling
deeply, then closing the glottis, and then directing
the air forcibly against and through it. Afterwards
vary the exercises by emitting sound. Begin on the
C and go upwards. Sound skah and kah, and hold
the note as long as possible. By practice, a note can
be held for more than twenty seconds. In practising
this exercise, take care that no breath comes out with
the sound, because otherwise not only is the stock of
breath exhausted, but the tone of the voice is spoiled.
To test this, speak or sing with a lighted candle
before the mouth. If there is breath, the candle will
flicker ; if not, it will burn in the usual manner.
76 THE VOICE.
Practise sighing also, which consists of a rather
long inspiratory effort by the diaphragm and other
muscles concerned in inspiration, the air almost noise-
lessly passing in through the glottis and being rather
suddenly expelled again by the elastic recoil of the
lungs and chest walls, and probably also of the
abdominal walls. When the vocal cords are called
into action, the sigh is converted into a groan.
(3) The Bronchial Tubes are next above the lungs.
Taken together with the larynx, they constitute what
is called the Trachea, or windpipe, which resembles an
inverted tree. The bronchial tubes are the inverted
twigs and branches, the trachea is the trunk, and the
larynx is the upturned root. They are a number
of little air-pipes, whose lower extremities are inserted
in the upper surface of the lungs.
They perform two functions : (i) That of air-
pipes ; (2) That of resonant cavities. Hence the
larger and more capacious these organs, the greater
the depth, fulness, and volume of the vocal sounds.
They are liable to be obstructed by secretions from
colds and bronchial maladies, and should, therefore,
be exercised, gently and cautiously, in breathing large
draughts of pure air ; otherwise the voice becomes
impure from imperfect resonance.
(4) The Trachea, or Windpipe, is a tube consisting
of a series of elastic cartilaginous, or gristly rings. It
is supplied with muscular fibres, by which the tube is
capable of contraction or expansion, both in its length
and breadth. It divides into two smaller tubes the
THE VOCAL CORDS. 77
right and left bronchus which pass respectively into
the two lungs. Its upper extremity is furnished with
a number of cartilages, forming what is called the
Larynx. By propelling air through the larynx, vocal
sounds are produced.
(5) The Larynx and Vocal Cords are the organs for
generating the sound of the voice.
The Larynx is a cartilaginous box at the upper
part of the windpipe, the exterior projection of which
is popularly known as Adam's Apple, from the strange
idea, or legend, that a' portion of the forbidden fruit
stuck in his throat at this spot, and has in appearance
been perpetuated in all his descendants. It is composed
of a framework of cartilages articulated together, and
connected by elastic ligaments. Behind the tongue
and in front of the upper opening of the larynx, is a
curved, upright, fibre-cartilaginous plate, called the
Epiglottis, which forms a kind of valve, or cover, to the
glottis, when the larynx is drawn upwards as in the
act of swallowing, thus preventing the entrance of
food or drink into the air passage, and sending the
matter into the gullet, or proper passage for food.
" Persons sometimes, while in the act of swallowing,
attempt to speak. The doing so raises the epiglottis,
or lid ; a particle of food gets in under it, to remove
which Nature instantly institutes a violent fit of
coughing ; and then it is usual to remark that the
food went the wrong way."
The Larynx is crossed about the middle of its
bell-like cavity by two elastic parallel bands of tissue
78 THE VOICE.
vocal ligaments, or cords which are capable of
being lengthened or shortened by the muscular action
of the organ. They project opposite to each other
from the sides of the inner wall of the larynx, and are
made to vibrate in unison by the breath as it is
expelled from the lungs ; and by these vibrations the
breath is converted into sound. The force with which
the breath is expelled from the lungs causes the cords
to vibrate through a greater or less breadth, and,
according to the number of vibrations in a given time,
so the sound thereby produced is either higher or
lower in pitch. When the cords are shortened, or
relaxed, their vibrations are relatively few in number,
and the notes are consequently deep ; when they are
elongated and tense, their vibrations are relatively
rapid, and the notes are consequently high.
Aphonia, or voicelessness, in which the person is
unable to speak, except in a whisper, is produced by
the inflammation and clogging of the vocal cords, so
that they cease to vibrate.
The space between, or that bounded by, the two
vocal cords is termed the Glottis, which is a narrow
chink forming the mouth of the larynx. The opening
and contraction of this portion of the vocal apparatus
decides, in part, the gravity or the shrillness of the
tone. While sounding the deepest notes, or inhaling
a deep breath, the larynx is drawn down, and the
glottis is open, forming an elliptical slip ; when
uttering a high note the glottis is nearly closed at the
top. " The comparative width of the glottis that is,
THE GLOTTIS. 79^
the distance from each other of the vocal cords does
not affect t\\& pitch of the voice; the pitch of the cords
is the result of their tension alone ; and so long as
this tension is preserved, or remains unmodified, so
long will the pitch remain the same, however wide or
narrow the glottis may be. There is, however, a
marked difference in the degree of force required to
make the same note ; the power needful increasing
according to the extent of the separation of the cords
from each other, and vice versa One cause,
then, of the difference in the range of voice between one
person and another consists other things being
equal in the greater power possessed by one person
over another in making more tense his or her vocal
cords ; for the tighter these are strung, the higher is
the resulting note. But as in different persons there
are differences in the length and in the thickness of the
vocal cords, just as there are differences in the length
of people's limbs, so are there differences in the
amount or degree of force required by different
individuals to produce the same note ; and even
though the same absolute degree of contractile force
be in operation in all the cases. In other words, the
longer the cords, the greater the tension required to
evolve any particular note ; and the thicker the cords
the greater the force required to produce any particular
note. . . . Another factor in the difference of
vocal power of different persons, consists in the
difference of resonance of their respective vocal cords ;
and of the cartilages and adjacent structures of the
8o THE VOICE,
larynx. Where these structures are lax and puffy,
and devoid of proper tone, we cannot expect to find,
nor do we find, that purity, sweetness "and strength of
the vocal powers which are met with in those whose
vocal organs, and all in connection with those organs,
are finely strung and possessed of superior tonicity.
For it is this healthful tonicity which confers upon the
tissues, not only the property of responding to the
calls made upon them, but of responding with due
alacrity ; and which also confers upon them their
delicate elastic properties.
"In women and in boys, before the age of puberty
the length of the vocal cords, as compared with
men, is as 2 to 3. But in boys at the age of puberty,
the larynx begins to increase rapidly in size, like the
rest of his organization ; and the vocal cords,
partaking of this increase, finally attain their maxi-
mum length as the boy develops into full man-
hood. And this lengthening of the cords produces
a difference in the character of the voice ; this
becoming changed into one of a deeper or lower
pitch, corresponding to the addition made to the
length of the cords, and to their increased thickness.
A remarkable property possessed by the larynx is its
power of preserving tfie same pitck, or sounding the
same note, however forcibly or loudly that note may
be sounded the loudness of the note being limited
only by the power possessed by the vocalist of
expelling air through the larynx from his lungs. He
may begin in pianissimo, and with a note so soft as
THE LARYNX. 8 1
scarcely to be audible, and end in fortissimo, in a tone
so loud that the very room appears to partake of the
vibration of his chest-walls ; and yet the note sounded
shall be of the same pitch throughout. In a wind
instrument of man's invention, this power of increasing
the loudness of the note is confined within compara-
tively narrow limits. In the latter, when the air
passing through the pipe attains a certain velocity in
sounding any particular note, any further attempts to
increase the intensity of the note, by a still more
vigorous blow or stream of air, proves at once
abortive, by the note jumping an octave higher. In
the larynx, however, provision is made whereby the
note or tone originally beginning in pianissimo, may
be rendered louder and louder, and still preserve its
pitch, however forcibly the air may be passed through
the larynx from the lungs a result unattainable by
any artificial contrivance. And though the exact
mechanism, by which this admirable property or
power of adjustment is accomplished by the larynx,
is not fully known or made clear, we may safely infer
that it can be achieved only by the simultaneous and
proportionate relaxation of the vocal cords, by the
action of the thyro-arytenoid muscle ; the delicacy of
which adjustment is so fine that the mind cannot
grasp it." It is a good thing to practise uttering the
hard sounds, b, d, g, k, as this exercise enlarges the
larynx, and thus increases the volume and quality of
the voice.
(6) The Mouth. Its vocal functions are those of
82 THE VOICE.
resonance and differentiations of the volume of sound.
The entire resonant apparatus consists of the
pharynx, the mouth, and the double set of passages
of the nose.
The pharynx, situated immediately above the
larynx, forming the open space at the back of the
mouth, although not directly concerned in the pro-
duction of sound, has a great effect upon the character
and quality of the voice. The larger this cavity, the
better the resonance of the voice and, generally, the
deeper the tone. To give the voice the full effect of
round, smooth and agreeable tone, the free use of the
cavity of the mouth is indispensable ; the whole
mouth must be thrown open by the unimpeded action
and movement of the lower jaw. A free and liberal
opening of the mouth is the only condition on which
a free and effective utterance can be produced. The
non-observance of this, resulting in the straining of
the vocal cords, is injurious to all voices, and has
ruined many. An able physician writes : " The
position of the mouth necessary for sounding oh or
aw, which are called round or clear tones, is that most
favourable to the production of vocal sound ; while
the injurious method usually adopted by singing //,
not only induces an unpleasing quality of tone, but
establishes a braced or tightened condition of the
organ, highly detrimental to their proper and healthy
action." Some teachers insist on the straining of the
vocal ligaments for increasing the power of the voice,
instead of allowing the larynx to fulfil its natural
VOCAL REMEDIES. 83
function of ascending into the pharynx for producing
high notes, and descending when producing low or
grave notes. When the vocal cords are stretched
too much, the notes are certain to become harsh and
disagreeable.
The orotund quality of voice is produced by the
wide and free opening of the mouth, especially the
pharynx, and requires full and deep inspiration and
expiration of the breath, in order to assist in opening
all the resonant chambers of the chest, throat and
head. Purity of sound is also one of its constituent
elements. The audible utterance of masculine force,
courage, energy, admiration, grandeur and power, in
fact, all deep, powerful and sublime emotions, depend
for expression on this quality.
Though the chest portion of the register is the
proper one to use, never use the very lowest portion.
Speak in your natural key. When the chest is felt to
vibrate under the impact of the sound-waves, we are
using the voice in the most efficient and agreeable
manner. Never speak too loud, the effort being
injurious to the speaker and disagreeable to the
listener. If the respiration and the key-note are well
managed, the voice will reach the farthest limits of
the largest hall without an effort. Speak slowly, with
well balanced pauses, so as to allow the sound waves
to subside, otherwise the result is a confusion and
jumble of sounds. Be very particular in sounding
the vowels carefully and well.
84 VOCAL REMEDIES.
Never strain the voice either by speaking too long,
or in too high a key, or when fatigued, unwell, or
suffering from a cold. At the first sign of hoarseness,
cease speaking, or use the voice as little as possible,
and in as low a tone as possible.
Clergyman's sore throat, or follicular pharyngitis,
consists principally of dryness of the mucous mem-
brane of the pharynx and a peculiar huskiness of the
voice, and is produced nearly always by a wrong use
of the organs of speech. The breath is forced too
much, and the voice is used in an unnatural and
affected manner. Undue stress is laid on the larynx
and the vocal cords, which ultimately yield to the
tension.
In an excellent work on Medicine, I met with the
following : " Clergymen and Lecturers often get into
the habit of speaking in a voice which is not natural
to them. They use an assumed tone of voice, in
many cases probably unconsciously imitating some
one whose delivery they admire. Undue stress is
laid on the larynx and vocal cords, which ultimately
yield to tension. The best way is to ask the opinion
on the point, and take the advice, of a Teacher of
Elocution,'' whose ears should be sufficiently acute
and trained to recognise whether the voice of the
speaker is being used naturally or not.
With regard to Throat and Voice remedies, it is
impossible to lay down any hard and fast rule.
What is one man's food is another man's poison.
VOCAL REMEDIES. 85
What may suit one person may not suit another, and
may not even be equally suitable at all times. Pro-
vided it is not injurious in itself, speakers or singers
should be allowed to take whatever they find, from
experience, to be good for them. Anything that
keeps the mouth moist and acts as a lubricant to the
throat is most generally useful.
Eggs, raw or beaten up with sherry, are about as
good as anything.
Do not load the stomach before speaking, as this
often interferes with the free use of the voice ; nor, on
the contrary, must one speak on an empty stomach,
the mere presence of food in the stomach imparting a
great impulse to the vital functions. When there is a
tendency to dyspepsia, one or two Pepsine Tabloids,
after eating, will help to insure the correct operation
of the stomach.
Never sip cold water while speaking.
Avoid acids and astringents, because, although they
clear the voice at first, their tendency is, in time,
to harden the more delicate fibres of the throat.
Oranges, apples, stone fruit are all injurious to the
voice unless cooked. Especially avoid nuts. Too
much sugar and fat is apt to encourage flatulent
dyspepsia, and consequent impairment of respiration
and vocalisation ; therefore, avoid heavy puddings,
fat meat, melted butter-sauces, etc.
Among the exciting causes of diseases of the throat
and the nasal passages are the indulgence of cold
drinks immediately after eating food, and the im-
86 VOCAL REMEDIES.
moderate use of iced drinks in summer, especially
when the body is exhausted.
In going out from a warm room to a chilly outside
air, avoid speaking as much as possible, or if you
must do so, take the precaution of holding a handker-
chief over the mouth.
In connection with this, I would also impress upon
all speakers, vocalists, reciters, etc., the extreme
necessity of paying attention to their teeth, not only
for the sake of appearance, and because keeping them
clean preserves them longer, but also because clean
teeth help in producing clear tones. The teeth, more-
over, act as a kind of respirator to the mouth, while
the want of them detracts from that clearness of
articulation which is so necessary. Cleaning the
teeth thoroughly the first thing in the morning with a
brush of soft badger's hair and lukewarm water, along
with any of the following dentifrices, will in a short
time produce a great improvement even in the most
discoloured teeth. I myself have found nothing
better than camphorated chalk, with a little orris-root
or a little myrrh in it. I can also recommend the
Odontobaph Tooth Powder and Tooth Paste, while
rinsing the mouth out the last thing at night with a
little of the Odontobaph Mouth Wash in a wineglass
of water will prove additionally useful, as also in
strengthening the gums.
Porter, port wine, or molasses, coat the mucous
membrane of the throat. Claret is good, as it
contains large quantities of tannic acid and some
VOCAL REMEDIES. 87
iron, which act as tonics to the system generally. A
very good lubricating drink is made thus: Take
equal parts of tragacanth, pure starch and good
sugar. When properly dissolved, a teaspoonful may
be added to a glass of water, and taken in small
quantities, so as not to overcharge the stomach. This
forms a pleasant liquid of such consistency and
adhesive power as covers and protects for a short
time the membranous lining of the throat.
Hot peppers, pickles, curries, cayenne lozenges,
are injurious to the voice. Lemon juice, with soda
water, is both wholesome and palatable.
On the first appearance of hoarseness bathe the
feet in hot water, drink something hot, and then get
into bed between blankets. In fact, I would recom-
mend all, especially those who have a tendency to
rheumatism, to sleep always without sheets. I have
done so for years, and have found the benefit of it.
One advantage of it is that you get rid of the
possibility of " damp sheets," which are the cause of
so many colds.
In his interesting work on Musical Education, Mr.
Alberto Bach says : " In the first hours after an
appearance of cold in the head, let a little bottle with
a wide neck, and containing a few grains of iodine or
of hartshorn, be put to the nose every four or five
minutes. Of great service, also, is the inhalation,
through the nostrils, of the steam of hot water.
Physicians have ordered Turkish baths at the com-
mencement of a cold, with good results for the
88 VOCAL REMEDIES.
patient. If the larynx is affected with cold one must
not sing at all ; the best remedy is rest and the
inhalation of warm vapours. Inclination to coughing
must be resisted, and in the same way one must
abstain from clearing the throat on slight irritation.
Vocalists who have contracted this habit of clearing
their throats, should request as a favour to have
their attention drawn to it when they are observed
to indulge in it ; for they often unconsciously
mar their performances by short coughs. A ten-
dency to coughing must, therefore, be suppressed.
Stewed plums and warm milk, with a little sugar
in it, will allay the irritation Caustic
and tannin are to be used only under advice
for the prevention of threatening diseases. They
make the membranes rigid, deprive them of their
elasticity, and interfere with the voice. When swal-
lowing becomes painful, or is impeded, a towel dipped
in cold water, and well wrung out, may be applied
round the throat both day and night .... In some
serious cases the advice of an able physician should
be sought without delay."
Warm cravats and all muffling about the throat
are relaxing. If afraid of cold protect the part just
behind and beneath the ears.
If the throat is very dry after singing or reciting, a
gargle of arnicated water will greatly refresh the
throat ; while just rinsing out the mouth with this
water will remove the sense of thirst; or glycerine
jujubes medicated with arnica are good.
VOCAL REMEDIES. 89
A cold taken in time and treated with aconite will
soon disappear. Mix Tincture of Aconite, half
drachm, in 4 oz. of water. A teaspoonful to be taken
every ten minutes for the first hour, and afterwards
hourly for eight or ten hours.
The following remedies I can recommend from
personal experience.
Hazeline exerts a wonderfully tonic action on
mucous membranes, and, as Dr. Ringer, Prof. Cli-
nical Medicine, University College Hospital, says, "is
useful in catarrh of the mucous membrane, and snuffed
up through the nose is beneficial in cold in the head,
and in hay fever." It is quite innocuous, and
occasions no unpleasant results, so that it can be
used with great freedom in inflamed and relaxed
states of the throat, for it is both astringent and
antiseptic. In catarrhal or inflammatory conditions
of the throat, it may be used as a gargle ; but where
the trouble is with the larynx or bronchi, it should be
employed in a spray-producer. In haemorrhage from
any part of the respiratory tract, Hazeline should be
taken in a little water, in 30 drop doses, frequently
repeated.
Chloride of Ammonium takes the foremost place
with many actors, public speakers, and singers for
aphonia, irritation and weakness of the vocal cords.
Its usefulness in catarrhal conditions of the throat and
lungs is attested by laryngologists generally. It
" increases the secretion from the mucous membrane,"
and prevents the formation of a thick tenacious
CjO VOCAL REMEDIES.
mucous. Therapeutists hold that there is no drug
which will so effectually remove catarrhal deposits
from the meshes of mucous membranes. For throat
troubles a Chloride of Ammonium Tabloid should be
dissolved slowly on the middle of the tongue, not near
the tip which is too sensitive. These Tabloids are
strongly recommended for bronchitis. Where there
is irritation, huskiness, hacking, or an uncontrollable
tendency to cough, I can recommend the Tabloids of
Chlorate of Potash and Borax. Chlorate of Potash is
an old-time remedy, and a good one for affections of
the mouth and pharynx, while Borax is much
esteemed for clergyman's sore throat, aphonia from
over-use of the voice, and even such diseases as
diphtheria.
In case of extreme irritation, or of pain, recourse
should be had to the Voice Tabloids of Cocaine,
Chlorate of Potash and Borax, They will even relieve
the painful swallowing sometimes encountered in
consumption of the larynx, and may, indeed, be
employed for pain in the throat from any cause.
Cocaine is generally valued by throat specialists, and
clearer, fuller, richer tones seem to follow upon the
use of these Voice Tabloids.
A remedy which has attained great popularity
in chronic bronchial affections is Pure Terebene
(B. W. & Co.). It was with this medicine that Dr.
Murrell, F.R.C.P., Assist. Phys. and Lect. on
Materia Medica, Westminster Hospital, succeeded
in curing consecutively 120 cases of winter cough.
VOCAL REMEDIES. 9 1
It is a powerful expectorant, and may be inhaled
from a spray atomizer, or taken internally in doses
of 5 or 10 drops on a lump of sugar. Care should
be taken to obtain the pure product, as impure
terebene causes severe irritation.
Encalyptine is a remedy which would, doubtless, be
used more than it is, were it not so difficult to obtain
it pure. By smelling constantly some cloth or cotton,
on which it has been dropped, the drug will prove most
serviceable in cold in the head and nasal catarrh.
Even where there is a profuse, offensive, semi-purulent
discharge, it removes fetor and checks the secretion.
The drug may be very advantageously used for
further medicating the fumes of the Chloride of
Ammonium Inhaler, which is done by pouring a few
drops of it into the " water bottle." Again, the thera-
peutic value of the exhalations of pine trees has long
been known. Scientists have discovered that the
most efficacious medicinal products are obtained from
the pinus Pumilio, which grows amid the Alpine
snows. Pinolls a volatile oil distilled from it, and is
distinguished from common pine oils by its exquisite
fragrance and non-irritating properties. The drug is
largely used on the Continent in affections of the
respiratory tract, including nasal catarrh, pharyngitis,
quinsy, clergyman's sore throat, aphonia, asthma,
pertussis, chronic bronchitis, bronchorrcea and phthisis.
It is also employed externally for pleuritic and inter-
costal pains. It is frequently prescribed in inhalations
(in the Vereker Ammonium Inhaler or a spray or
92 VOCAL REMEDIES.
steam atomizer), as a gargle, for fumigations, as an
embrocation or lotion, and is also given internally in
3 minim doses on a lump of sugar.
The fumes of Chloride of Ammonium act as a
most effectual tonic to the mucous membrane in
throat-cough, pharyngeal irritation, and relaxation
and weakness of the vocal apparatus. " The vapour
of the Chloride of Ammonium," says one writer,
" removes unhealthy and offensive secretions, and
restores the diseased or weakened vocal and respira-
tory mucous membrane to a healthy state, so that,
in the case of catarrh, where thickening, induration,
and irritation exist, a most decided improvement is
brought about in a short time." Authorities generally
recommend the Vereker Chloride of Ammonium
Inhaler as the best. It generates neutral fumes, and
is always ready for use. The remotest parts of the
respiratory mucous tract may be reached by these
fumes, which are absolutely harmless if neutral.
Pastilles de Bonnet and Pastilles a" Agents de CJiange,
as containing liquorice, gums, etc., are also excellent
lubricants for the throat.
Coca, a plant of South America, has a wonderful
effect in removing all sense of fatigue, while its use
is followed by no ill effects, as is the case with mere
stimulants. In the treatment of alcohol-craving,
it is stated to be of great benefit. It is introduced
into various preparations. Annbrechfs Coca Wine
has been found very beneficial for fatigue, nervous
exhaustion, or mental worry ; while, with the ad-
VOCAL REMEDIES. 93
dition of a 5 grain Tabloid of Bromide of Ammonium,
it counteracts the tendency to sleeplessness from which
so many suffer. It is particularly useful to voca-
lists, clergymen, actors, and speakers generally, as
it has a beneficial effect on the vocal cords. It
should be taken about half an hour before using
the voice.
94 GESTURE.
GESTURE.
I NOW come to an clement in good speaking which
is the most difficult of all, because it cannot be
properly explained, except viva voce I mean Gesture,
not Gesticulation. Gesture is a science ; Gesticulation
is merely unmeaning guesswork. Gestures have a
meaning, gesticulation has none. Few, however, know
the difference. Gesture is a subject which requires to
be studied ; it cannot be picked up. Vandenhoff
truly says : " It is next to impossible to teach
gestures by written instructions. Practical lessons,
under a good and experienced teacher, will do more
towards giving the pupil ease, grace, and force of
action, than all the books and plates in the world."
Gesture has been aptly called the Language of
Nature, to distinguish it from the arbitrary and
more limited language of speech. Cicero, in one of
his Orations, has recommended particular attention to
delivery. "Action is, as it were, a kind of eloquence
of the body, as it consists both of the voice and of the
gesture. It is not without reason that Demosthenes
assigned to action the first, the second, and the third
place. For, if eloquence cannot subsist without action,
and if without eloquence action has such influence,
certainly its importance is very great to a public
speaker." " The gesture of the public speaker," says
Austin, "must vary considerably with the different
GESTURE. 95
circumstances of his situation, and with the nature of
the ideas he wishes to convey." Cicero says :
" Every passion of the heart has its own appropriate
look, tone and gesture ; and a man's own counten-
ance, his whole body and all the voices of his mouth
re-echo like the strings of a harp to the touch of
every emotion of his soul."
" It would be needless to mention or portray all the
infinite varieties and shades of expression that may
be conveyed by the motions and attitudes of the
body Such natural gestures as the following
need only to be mentioned to strike the intelligence
at once : To clutch the hair indicates desperation ;
to touch the forehead, reflection ; to touch the nose,
intelligence or cunning ; to touch the chin, delibera-
tion ; to strike the breast, daring ; to slap the thigh,
impatience ; to shake the finger or fist, menace, anger,
etc. But the great mirror of expression is the face.
There, in everchanging shades, thought, feel ing, passion,
are portrayed with a power beyond the reach of
language ; wrath storms in the corrugated brow, and
flashes lightning from the eye ; love and tenderness
thrill in the melting glance ; suppressed passion
labours in the expanded nostrils ; scorn and disdain
ride on the curled lip. But what except the pencil
of the painter can do justice in describing these
things ?
As M. Champeau wrote in the Dramatic Reciter
and Speaker of February, 1886: "The eyes, says
Quintilian, are the chief feature in the face. It is by
96 GESTURE.
them that the soul is manifested, for when we are
glad they are lively and bright, and when sad they
are heavy. Buffon also says that it is in the eyes
that the internal emotions are expressed. The eye is
more closely connected with the soul than any other
organ : it seems to participate in all its movements,
and expresses the most lively passions and the most
agitated emotions, as well as the most gentle and
delicate sentiments. In the eye we look for meaning,
for human sentiment, for reproof. In fact, if there is
anything certain, it is that the mind is more .promptly
and forcibly expressed by the eyes than by anything
else. We know this so well that, when questioning
anyone, we instinctively look to the eyes for the
answer before it has been uttered by the mouth. . . .
Words cannot be compared with the eloquence of the
eyes. As Cicero says, ' The power of the eyes, the
manner of giving them expression, deserve the
greatest possible attention.'"
The mouth is, next to the eyes, the most important
part of the countenance, as having the most expression.
" How few mouths, which have been beautiful in youth
(the season of happiness and smiles), are preserved
beyond that period. Every bad habit defaces the soft
beauty of the mouth, and leaves indelible on it thetraces
of their injury. . . . That moral habits are capable
of altering the fine expressions of the countenance
can hardly be doubted. The character of the entire
countenance is under the dominion of those habits.
And beauty is often (and perhaps better) attributed
GESTURE. 97
to the mind and dispositions beaming through the
countenance, than to symmetry of features and fine
colouring. The most beautiful face soon ceases to
please, if unworthy passions habitually deform its
expression."
All gestures must be in curves, never in straight
lines. Do not, therefore, move the arm and hand to
the intended position by the shortest line, but by a
curved one ; let the motion be rather slow until the
final position is almost reached, then let the hand
move more quickly to its place with more or less of
emphasis, according to the occasion, on the emphatic
word. As a rule the gesture is performed with the
right arm, the left arm merely supporting it. Of
course, there are exceptions, such as when the left
hand is spoken of in contradistinction to the right,
" For half of their fleet to the right and half to the
left were seen " it not being permissible to point
across the body ; when there is local allusion to some
object on the left of the speaker ; when two
things are contrasted, if the case requires that the one
should be marked by the action of the right hand, it
is often as well to mark the ^antithetic word with the
left hand. When one hand is clenched the other
must not hang languid by the side, but must indicate,
in a secondary degree, the same feeling.
Quintilian seems to regard the hands as nearly
equal in power of expression to the countenance
itself. " Without the hands," he says, " delivery
would be maimed and feeble ; for, in copiousness
8
98 GESTURE.
of expression, they almost equal words. The
action of the other parts of the body assist the
speaker, but the hands (I could almost say) speak
themselves. For with them do we not demand,
promise, call, dismiss, threaten, supplicate, detest,
fear, interrogate, deny ? With them do we not express
joy, sorrow, doubt, confession, penitence, moderation,
abundance, number, time ?" The celebrated physician,
Cous, called the practice of the gestures of the hand
the most excellent lesson in eloquence. "Among
the wise man of Egypt, the inventors of the sacred
hieroglyphics, their designation of language was by
the symbol of a hand placed under a tongue. Every-
thing, it must be confessed, depends on the hand ; it
gives strength and colouring to eloquence, and adds
force and nerves to the riches of thought" How absurd,
then, was the habit, almost universally practised, of
wearing gloves, until inveighed against repeatedly by
me in the Dramatic Reciter and Speaker.
The beauty and force of all gesture consists in the
timely, judicious and natural employment of it, when
it can serve to illustrate the meaning, or give emphasis
to the force of any passage. Graceful, appropriate
and definite gestures render vocal delivery not only
more pleasing and effective, but carry greater con-
viction to the mind. Variety, however, is indispens-
able. The repetition of the same gesture, however
graceful it may be in itself, shows a poverty of
resource which is decidedly against the speaker.
The usual fault of speakers is either too much or
GESTURE. 99
too little gesture. Many speakers indulge in no
gesture at all, from a natural feeling of awkwardness,
or from fear of being thought, what they call,
theatrical. Others again, to avoid the appearance of
inanimateness, indulge in incessant movings of the
arms, with a bland indifference as to whether their
action is awkward, irrelevant, or unmeaning.
Correct and graceful gesture may be defined to
be a just and elegant adaptation of every part of
the body to the nature and import of the subject.
"Yet, though all confess the influence, power and
necessity of action," says the Rev. James Aber-
crombie, D.D., an eminent American writer on the
arts of reading and public speaking, " there are but
few public speakers who venture to use it ; and of
those few, a very large majority, through want of native
taste and judgment, or rather through want of early
and correct instruction, disgust, instead of pleasing,
by their awkwardness and absurdity. The study ot
action in speaking consists chiefly in guarding against
awkward and disagreeable motions, and in learning
to perform such as are natural to the speaker, in
the most becoming manner, or such as are most
graceful and impressive. You may, therefore, with
unquestionable advantage, have recourse to such
masters as have carefully studied and are qualified
to teach them."
G. H. Lewes writes : "All but very great actors
are redundant in gesticulation ; not simply overdoing
the significant, but unable to repress insignificant
100 GESTURE.
movements. . . If actors would study fine models,
they would learn that gestures to be effective must
be significant, and to be significant they must be
rare. To stand still on the stage, and not appear
' a guy ' is one of the elementary difficulties of the
art, and one which is rarely mastered." This applies
also to every kind of speaker.
To emphasize all parts alike is equivalent to no-
emphasis at all ; and by employing gestures on
unimportant passages, the speaker lessens his power
of rendering other parts effective. Gestures should
be reserved for such passages as require to be more
prominent, and for the most earnest feelings and the
boldest thoughts. The great aim should be to realise
and bring, as far as possible, before the mind's eye
the scene of the incident which he is describing.
As Quintilian says, " A speaker ought to suit his
gesture to the general sentiment which he expresses,
and not to the particular signification of the word
which he pronounces."
The words and gestures should accompany each
other. As Shakespeare says : " Action and utterance
go together." The motion which calls forth the word,
prompts, at the same moment, the gesture ; but if the
speaker be warmed or excited, some difference of
time, however small, will take place between the
gesture and the words, the order in such cases being-
the eyes ; the countenance ; the gestures ; the words.
The eyes must always be directed as the gesture
points, except when we have to express aversion or
GESTURE. IOI
refusal, when we should, at the same time, show aver-
sion in our countenance, and reject by our gesture.
Impulsive jerks and unmeaning or indefinite move-
ments of the head, hands and arms, should be carefully
avoided. The speaker should learn to stand still.
Repose is a chief element of effect. Graceful inaction
is of immense importance to an actor or a speaker
The unmeaning vvavings of the arms so commonly
indulged in, so far from adding to the force or the
beauty of a passage, greatly detract from it. As
Addison says : "We (the English) ought either to lay
aside all kinds of gestures, or at least make use of such
only as are graceful and expressive."
Propriety of gesture should be founded on some
natural connection between the sentiment and the
action. Remember the words which Shakespeare puts
into the mouth of Hamlet : " Let your discretion be
your tutor, suit the action to the word, the word to
the action, with this special observance, that you over-
step not the modesty of nature." Do not follow the
example of a reciter who, when speaking of a boat
out at sea, pointed to the ceiling ; or of a London
clergyman who, when uttering the words " we shall
approach the table of the Lord," stood with his back
to the altar, and held his hand out behind him, palm
outwards.
The movements of the head should also be suited
to the character of the delivery. It should slightly
imitate the hands in every motion ; but should not
be shaken or nodded frequently, a failing so con-
IO2 GESTURE.
spicuous in many ambitious public speakers. The
head, by its movements, is very expressive ; it gives
assent by nodding ; drawn back, it refuses assent ;
is shaken in doubt, and still more in disapprobation ;
is turned away in dislike, aversion or horror ; leans
forward in attention ; is held up in courage or pride ;
hangs down in shame; and falls on either hand or
on both hands in grief. A gesture of the head
alone, unaccompanied by any other gesture, is bad,
except in comic or humorous pieces.
The shoulders should move slightly in unison with
the movements of the trunk. They should not be
shrugged to express indifference or contempt, except
where imitation or mimicry is allowable.
The arms should always- begin their movements
from the shoulders, not from the elbow, which must
neither be pinned closely to the side nor projected
awkwardly from it. An easy and free use of the
arms, and especially a pliancy of the wrist, should
be acquired. Goldsmith speaking of a celebrated
actress of his time says that she did not flourish
her hands while the upper part of her arms was
motionless, nor had she the " ridiculous appearance
as if her elbows were pinned to her hips." To do-
so is not only ridiculous but positively ungraceful,
and yet an)' one attending any Recital or Dramatic
performance will too often see this sort of tiling.
The unfolding of the arms is the first necessity in
acquiring graceful gesture, and when this is acquired
all other gestures are comparatively easy, though, of
GESTURE. 103
course, their appropriateness depends on the intelli-
gence of the speaker, and on the care and thought he
has bestowed on the piece he is reciting, or the address
he is delivering.
The hands, always ungloved, should be open, mus-
cles slightly relaxed ; the thumb not too much raised,
the two middle ringers joined and slightly separated
from the index and little finger. The palm of the
extended hand held downwards is expressive of sooth-
ing, calming, or of rest after labour.
" He lay like a warrior, taking his rest."
The palm of the extended hand held outwards to-
wards an object, is expressive of dislike or rejection ;
when strong excitement or deep feeling is to be ex-
pressed, the head is also to be averted.
" No more ! I'll hear no more ! Begone and leave me."
The joining of the hands at the tips, with the eye
uplifted, is expressive of deep thought and contempla-
tion. The hands are clenched in passion or resolve.
The wringing of the hands expresses grief or remorse,
and is generally accompanied by a restlessness of the
entire body.
The forefinger, when directed straight forward, is
very effective when some person or thing is to be
pointed out ; also in exhibiting some precise point in
an argument ; otherwise it should be seldom used.
The forefinger of the right hand laid on that of the
left, is expressive of nice discrimination, or minute
distinction. " Mark me ! here is the point." The
104 GESTURE.
hand laid on the region of the heart expresses sensa-
tion, emotion, love ;"*on the breast, courage, appeal to
conscience or courage. If merely the points of the
fingers touch the breast, the motion is expressive of
self. " And keep his only s6n, myself, at h6me.''
The hand laid on the lips commands silence, or
denotes musing, thought. The hand, or forefinger,
touching the forehead, or traversing the regions of the
temples, with eyes uplifted, accompanied by a due
solemnity of utterance, indicates doubt, apprehension,
or anxiety.
The raising of both hands, with the arms extended
or curved, should seldom be used except where the
idea demands it ; and when used, both hands should
be raised and lowered at the same moment.
PIECES ANNOTATED. 105
PIECES ANNOTATED.
HAMLET'S ADVICE TO THE PLAYERS.
Spedk the speech, I pray ydu, as I pronounced it to you
trippingly on the tongue ; but. if you mouth it, as many of
our players do, I had as lief the town-r//Vr spake my lines.
Nor do not saw the air too much with your hand thus, but
use all gently; for, in the very torrent, tempest and (as I
may say) WHIRLWIND of your passion, you must acquire and
beget a temperance, that may give it smoothness. Oh, it
offends me to the soul, to hear a robustious /<?rm/;Vpated
fellow tear a passion to rasters to very rdgs to split the
ears of the groundlings ; who, for the most part, are capable
of nothing but inexplicable dumb show and noise. I would
have such a fellow whipped for o'er-doing Termagant ; it
out-herods Herod. Pray you \ avoid it = Be not too tame
neither, but let your own discretion be your tutor. Suit the
action to the word the word to the action : with this
special observance that you derstep not the modesty of
nature ; for anything, so 6verdone, is from the purpose of
1 -laying, whose end, both at the first and now, was and is
to hold, as 'twere, the mirror up to nature : to show virtue
her own feature ; scorn her own image; and the very age
and body of the time, his form and pressure. Now this,
bveraone or come tardy bff, though it make the unskilful
laugh, cannot but make the judicious grieve : the censure of
which one must, in your allowance, o'erweigh a whole theatre
of others. Oh ! there be players that I have seen play and
106 PIECES ANNOTATED.
heard others praise, and that highly (not to speak it
profanely} that, neither having the accent of Christian, nor
the gait of Christian, pagan, or man, have so strutted and
bellowed, that I have thought some of Nature's journeymen
had made men, and not made them well they imitated
humanity so abominably.
[The following apt commentary on " Hamlet's Advice to
the Players " is from the pen of Mr. Percy Fitzgerald :
" The Prince's instructions in the art of acting are more
in the direction of how not to do it; but from this can
be deduced the way how to do it. They concern various
matters ; but the only two which concern us are Elocution
and Gesture. Speak the speech, trippingly on the tongue.
The meaning of this is shown by the caution against
the abuse that follows. The delivery is to be animated
and rather declamatory, but not to run into boisterous
' mouthing.' On the other hand, an equally great mis-
take is to suppose that the colloquial style of drawing-rooms
and the streets are to be transported to the stage. All
the conditions of the stage are founded on exaggeration and
a certain over-emphasis. The conventional ' good morning '
and ' a fine day ' tones are without effect. Even the strong
glare cast upon the performers makes every movement and
every glance of importance. And thus it is the time
being so short, and the attention being bestowed but for a
very short time trivial tones and trivial speeches sound
hors de propos, and are out of keeping. ' Trippingly,'
however an admirable word is what can barely be applied
to the style of delivery of existing actors, which in many
instances is slovenly and indistinct to a degree. ' Mouth it '
unhappily needs no description, and is familiar enough
in the provinces. Still, if we come to preference, it is
almost more to be endured than the other vice ; for it is an
excess of a good thing. It is evident, indeed, from the
whole of the Prince's instructions, that this sort of rant was
the abuse of his t/me, as indeed, it \vould seem to be of the
stage generally in all times nn-1 places. Only on our own
PIECES ANNOTATED. 107
boards, singularly to say, we have shrunk into a sort of
a lethargic nonchalance. Some of this must be set down to
the taste for familiar comedy introduced by Mr. Robertson ;
but the real cause lies deeper to the want of instruction
and lack of experience in our performers. Many of the
younger London actors and actresses have had no training
at all, and some could be named who, with no gifts but their
good looks, good address (and dress' too), and good will,
have obtained leading positions. Use all gently. A golden
rule indeed. Reserved force is the secret of power. The
Prince lays this down in reference to gesture, Do not saw the
air too much, etc. It is extraordinary how, on the English
stage, tradition seems to admit but two modes of expression
vehemence of voice, and vehemence of gesture ; the ex-
traordinary effects which can be produced by the face being
overlooked. Of course Mr. Vaux-Clamant may retort :
' What, no expression in the elevation of my bushy eyebrows
in this haughty scowl this scornful curling of the lips
Go to ! ' These are but elementary. Our protagonist has
but little notion of what is alluded to. How few understand
such finesse as this : the sud<ien shiftings or contention of
emotion ; the distrust or uneasiness conveyed without
frowning, or arching the brows, or other gymnastics allow-
ing the sentiment to be read in the face before the utterance.
Again, the expression by carriage, air, manner. Suit the
action to the word, the word to the action. To find the
proper action for the word, nay, to forbear action wholly
where action might be looked for ; and how refreshing, how
welcome, how infinitely more significant than a page of
speaking is a truly significant action ! But this, again,
is only formed by the nicest observation of human characters,
and perhaps in a moment of inspiration."]
PITT'S REPLY TO SIR ROBERT WALPOLE.
THE atrocious crime of being a young man, which the hon-
ourable gentleman has, with such spirit and decency, charged
upon me, I shall neither attempt to palliate, nor deny ; hut
content myself with hoping that I may be one of those whose
I08 PIECES ANNOTATED.
follies cease with their youth, and not of that number, who
are ignorant in spite of experience. Whether ybuth can be
imputed to man as a reproach, I will not assume the province
of determining ; but surely age may becomejustty contempti-
ble; if the opportunities which it brings have passed away
without improvement^ and vice appears to prevdil, when the
passions have subsided. The wretch, who, after having seen
the consequences of a thousand errors, continues still to blun-
der^ and whose age has only added obstinacy, to stupidity, is
surely the object either of abhorrence or contempt, and
deserves- not that his grey hairs should secure him from
insult. Much worse is he to be abhdrred, who, as he has
advanced in age, has receded from virtue, and become
more wicked with less temptation ; who prostitutes himself for
money which he cannot enjoy, and spends the remains of his
life in the niin of his country. But youth is not my only
crime ; I am accused of acting a theatrical part. A theatri-
cal part may either imply some peculiarity of gesture, or a
dissimulation of my real sentiments, or the adoption of the
opinions and language of another man. In the first sense,
the charge is too trifling to be confuted ; and deserves only
to be mentioned that it may be despised. I am at liberty,
like every other man, to use my own language ; and though,
perhaps, I may have some ambition to please this gentleman,
I shall not lay myself under any restraint, nor very solici-
tously copy his diction or his mien, however natural by age,
or modelled by experience. But if any man shall, by
charging me with theatrical behaviour, imply that I utter
any sentiments but my own, I shall treat him as a calumnia.
tor, and a villain ; nor shall any protection shelter him from
the treatment he deserves. I shall, on such an occasion,
trample on all those forms with which wealth and dignity
PIECES ANNOTATED. 109
intrench themselves, nor shall anything but dge restrain my
resentment ; dge which always brings one privilege, that of
being supercilious
THE SLAVE'S DREAM.
BY LONGFELLOW.
'Beside the ungathered rice he lay |
His sickle in his hand ; ||
His breast was bare | his matted hair
Was buried | in the sand. ||
Again | a in the mist and shadow of sl^ep |
He saw | his Native-Land.
Wide | through the landscape of his dreams |
The lordly Niger flowed ; ||
Beneath the palm-trees on the plains
Once more | 4 a King | he strode ; ||
And heard the tinkling caravans
5 Descend the mountain road.
He saw | once more | his dark-eyed queen |
Among her children | stand ; ||
They clasped his nck | they kissed his cheeks |
They held him by the hand !
A tear burst from the sleeper's lids |
And fell | into the sand.
And then | at furious speed | he rode 6
Along the Niger's bank ;
His bridle reins were golden chains,
And | with a martial clank |
At each le"ap he could feel his scabbard of steel
Smiting his war-steed's flank. 7
110 PIECES ANNOTATED.
8 Before him | like a blood-red flag |
The bright flamingoes flew ;
From morn till night he followed their flight,
O'er plains where the tamarinds grew,
Till he 'saw the roofs of Caffre huts, |
And I0 the ocean | rise to view.
At night | he heard the lion ROAR,
And the hyaena SCREAM,
And the river-horse as he crushed the reeds
Besides some hidden stream ; ||
And "it passed | like a glorious roll of drums, |
Through the triumph | of his dream.
The forests, with their myriad tongues,
Shouted of LIBERTY ; ||
And the Blast of the Desert cried aloud |
With a voice so wild and fre"e |
That he "started in his sleep | and smiled
At their tempestuous glee.
He did not feel the driver's whip,
Nor the burning heat of day ; |
For death \ had ^illumined the Land of Sleep |
And his lifeless body I4 lay
A worn-out fetter | that the soul
Had broken | and thrown away !
1st stanza to be given in a somewhat subdued tone ; last two lines
slow. 2nd. The voice to be full and round, last two lines in a bright
tone. 3rd. To be given eagerly, last two lines in a pathetic tone. 4th.
Rapid and animated. 5th. Slow. 6th. Last two lines in a full tone.
7th. Voice to swell till the last two lines, which should be given softly.
8th. Pause before beginning it, and then to be given very slowly.
I. Open right hand to be pointed towards the ground. 2. Stretch
right arm forward and upwards slowly, turn hand downwards at " his,"
PIECES ANNOTATED.. I 1 1
and let it drop slowly to side. 3. Right arm extended, palm down-
wards, and swept slowly to left, index finger advanced. 4. Arms
folded, head thrown back. 5. Raise left hand, index finger advanced,
sweep round, and let it fall gradually. 6. Advance right foot slightly,
and boldly sweep right hand out horizontally to right. 7. Smite left
hand three times backwards. 8. Right arm, palm upwards, to be
stretched out in front and gradually moved to right then drop to side.
9. Here point with index finger to the front. 10. Turn hand, palm
npwards, sweep round, then drop. n. Raise right hand, palm out-
wards, to front of breast, move slowly up towards the right, then drop.
12. Start, bring right hand quickly up to breast, look upwards and
smile. 13. Look upwards, stretch right arm out slightly. 14. Turn
hand round, look and point downwards towards the right.
EXTRACT FROM " MAGDALEN."
BY M. E. HENRY.
{Expressive Sorrow and night were watching | cold and
description.} drear |
Beside the Magdalen, | and | in her woe |
She might have been a sister-spirit clothed
With deeper shadows. || Up and down she trod |
In wild unrest | the gorgeous room ; | and still |
One cry, one prayer rang out above the storm
Within her soul, | the mighty war that waged
For mastery between despair and hope :
{Deep feel- " Could I but lay my burden at His/eW/
ing.) Could I but kneel before Him, hear His voice ! |
But no ; | He is a prophet, and they say
He is the Promised-One. \ I may-\\ot go,
For He would scorn me, as the others do. |
Quick transi- But hark ! whose step without ? " while sharply
tion to res on- rang
ant tone.) The clang of arms, an iron heel upon
The marble halls, that told the warrior's
tread. |
" Phelon," she whispered and | in terror | sank,
112 PIECES ANNOTATED.
The while the parted curtains gave to view
(Sonorous.) A mdn | majestic as a monarch throned,
And grandly handsome as a g6d, | who came
Beside her crouching from his sight. [ Upon
His helmet's burnished height, an eagle gold
Bespake his rank as Caesar's general. |
" Why art thou here ? " she murmured.
(Surprised tone.) " Why am I here ?
(Expostula- Why, girl, dost thou not know I've risked my
tion. ) life
To see thee for I could not go afar
Without a farewell word."
TROUBADOUR'S CALL TO WAR.
ADDRESSED TO RICHARD CCEUR DE LION, BY BERTRAM
DE BORN.
(Bright IT joys me well the sweet spring tide, when
tone.) leaves and flowers appear ;
It joys me well, by greenwood side, the blithe
bird's song to hear ;
(Quicker But more, perdi * ! I joy to see the tented field
time. ) afar,
And steed and knight arrayed (or fight in pano-
ply of war !
It joys me well when outscoutsy?/ before their
foemen rfin ;
For then full short, the main hosts meet, the
tug of war comes on !
* Pronounced per-dee (French par a'uu.)
PIECES ANNOTATED. 113
(Resonant?) I love to see the castle stormed, when thun-
dering fragments fall,
(Slow and ra- And, in the ditch, the palisades smile grim
ther intense ) beneath the wall.
(Bright.} Tisy'4y when prince or peer is seen amidst the
foremost the"re,
To cheer his men, with right goodwill, his own
fair fame to share ;
And, certe's, when the camp's to win, each well
may back his lord
(Rather Small praise to him who blenches, when " give
scornful.} and take's " the word.
Now lance, helm, brand and dinted shield lie
scattere- 1 where they fell ;
And vassal's hand smites vassal, within the hot
pell-mell.
No thought of fence, no thought of ward ; each
strikes as best he can,
And deems a corse more worth than he who
yields a living man I
(Humor- Meat, drink and sleep, I'll not deny, are good
ous.} things in their way ;
(Resonant ) But give me, sirs, the war-cry that drowns the
din of fray !
When knightless steeds, through forest glades,
shriek wildly as they go,
And wounded mm cry out for aid within the foss
below!
9
114 PIECES ANNOTATED.
{Earnest.} Ye barons that have aught to pledge, in God's
name pledge it. now /
And mortgage town and tower and Idnd, for
sword and axe and bow !
Off, off! friend Sapiol, bear with haste to Oc
and No my song ;
And bid him speed the good old trade we've
had peace far too long.
THE SEMINOLE'S DEFIANCE.
BY LiEUT.-CoL. GEORGE W. PATTEN, U.S.A.
(Defiant?) Blaze, with your serried columns ! / will not
bend the kne ;
The shackle ne'er again shall bend the a"rm
which now is free !
I've mailed it with the thunder, when the tempest
muttered low ;
And where it falls, ye well may dread the light-
ning of its blow.
(Scorn.) I've scared you in the city ; I've scalped you on
the plain ;
Go, count your chosen where they fell beneath
my leaden rain !
1 scorn your proffered treaty the pale-face I
defy-
(Intensity) Revenge is stamped upon my spear, and "blood"
my battle-ciy ! =
Some strike for hope of booty ; some to defend
their all ;
(Exulting.) /battle for the/tfy I have to see the white man
fall.
PIECES ANNOTATED. 115
I love, among the wounded, to hear his dying
moan,
And catch, while chanting at his side, the music
of his groan.
Ye've trailed me through the forest! ye've
tracked me o'er the stream /
And struggling through the evergld.de your brist-
ling bayonets gleam.
(Proud But I stand as should a warrior, with his rifle and
defiance,} his spear ;
The scalp of vengeance still is red and warns
you '* Come not here ! "
(Sarcasm.) Think ye to find my homestead? I gave it to
the fire !
My tawny household do ye seek ? / am a child-
less sire !
But, should you crave life's nourishment, enough
I have and good ;
(Intensity.) I live on hate 'tis all my bread ; yet light is not
Wj food.
I loathe you with my bosom ! I scorn you with
mine eye I
And I'll taunt you with my latest breath, and
fight you till I die !
I ne'er will ask for quarter, and I ne'er will be
your slave ;
But I'll swim the sea of slaughter till I sink
beneath the wave.
THE CHARGE OF THE LIGHT BRIGADE.
(Narrative.) Haifa league, /ia/fa. league,
Half a league onward \
Il6 PIECES ANNOTATED.
(Rather low All in the valley of death
and slou>.) Rode the Six Hundred. ||
(Capt. No- " FORWARD THE LIGHT BRIGADE !
lan's words.} CHARGE FOR THE GUNS," he said. |
All in the valley of death
Rode the Six Hundred. ||
(Cardigan's Or- " FORWARD THE LIGHT BRIGADE ! " ft
ders. Quick 6-
resonant tone.) " as there a man dismayed?
Not though the soldier knew
Someone had blundered; ||
(Each succeeding Theirs not to make reply, I
line of these three . ,
to be in a higher Theirs not to reason why, \
tonethanthepre- Thdrs but tQ ^ Qr (Hg j
ceding one. )
Into the valley of death
Rode the Six Hundred. ||
(Descrip- Cannon to right of them j
five : reso- Cannon to left of them, |
nant tone.} Cannon in front of them, \
Volleyed and thundered ;
Stormed at with shot and shell,
Boldly they rode and well;
(Quicker Into \hejaws of death,
tone,} Into the mouth of hell,
Rode the Six Hundred. ||
(Animated Flashed all their sabres bare, |
description} Flashed as they turned in air, \
Sabring the gunners there, |
Charging an army \ while
(Slow} All the world wondered ; ||
( With force } Plunged in the battery-smoke,.
PIECES ANNOTATED. 1 17
Right through the line they broke ;
Cossack and Russian
(Slow.} REELED from their sabre-stroke
Shattered \ and sundered. \
Then | they rode back, but not |
Not the Six Hundred. ||
(Lofty tone.} When can their glory fade ?
Oh, the wild charge they made, |
All the world wondered.
Honour the charge they made 1
Honour the Light Brigade !
Gallant Six Hundred.
THE EVE OF WATERLOO.
(Bright There was a sound of revelry by night,
tone.} And Belgium's capital had gathered then
Her beauty and her chivalry; and bright
The lamps shone o'er fair women and br&ve
men. |
A thousand hearts beat happily | and when
(Round tone Music arose | with its voluptuous swell
and soft.} Soft eyes looked love to eyes that spake again ;
(Bright tone.} And all went merry as a marriage bell.
{Deep tone & But hush ! hark ! a deep sound strikes like a
slow time.} , .
rising knell. ||
Did ye not hear it ? No; 'twas but the wind,
Or the car rattling o'er the stony street;
(Bright On with the dance ! let joy be unconfined,
tone.} No sleep till morn when youth and pleasure
meet
To chase the glowing hours w\\h flying feet. |j
Il8 PIECES ANNOTATED.
{Deep tone.} But, hark ! that heavy sound breaks in once
more,
As if the clouds its echo would repeat ;
And nearer \ cledrer \ DEADLIER than before |
(Forcible} Arm I ARM ! It is it is the c&nnoris opening
roar!
(/// Tremu- Ah ! then and there was hurrying tb and fro
lous tone.} And gathering tears, and tremblings of dis-
And cheeks all pale, which j but an hour ago |
Blushed | at the praise of their own loveli-
ness; |
And there were sudden/a/-/ 1 /'//^ | such as press
The life from out young hearts | and choking
sighs
Which ne'er might be repeated. | Who could
guess |
If ever more should meet those mutual eyes,
Since | upon night so swe'et | such awful morn
could rise !
( Quick and And there was mounting in hot haste ; the
orotund ste'ed,
tone} The mustering squadron, and the clattering ca>
Went pouring forward with impetuous speed
And swiftly forming in the ranks of war;
(Slow and And the deep thunder, | peal on peal, | afar, \
orotund And near, \ the beat of the alarming drum
tone.} Roused up the soldier | ere the morning star ; |
While thronged the citizens | with terrordiimb, |
Or whispering j with white lips |
(In a whisper ;
vocalisation "The/be! they come / they COME."
being slight.)
PIECES ANNOTATED. 1 19
EXTRACT FROM ATHERSTONE'S "LAST
DAYS OF HERCULANEUM."
(High tone and MAD frenzy fires him nbw /
quick time.} He plants against the wall his fee"t : his chain
Grasps ; tugs with giant strength, to force
away
The deep-striven staple ; yells and shrieks
with rdge ;
And | like a desert lion in the snare,
Raging to break his toils | to and fro bounds.
(Low tone and But see ! the ground is opening: a blue
slow time.} light
Mounts, gently waving, noiseless : thin and
cold
It seems, and like a rainbow tint, not flame ;
But | by its lustre, | on the earth outstretched,
Behold the lifeless child ! his dress is singed,
And, o'er his face serdne, a darkened line
(Slow and with Points out the lightning's track. = The father
fee/ing.} sa"w,
And all his fury fled : a dead calm fell
That instant on him : speechless fixed
he stood,
And j with a look that never wandered \ gazed
(Tenderly.} Intensely on the corse. Those laughing eyes
Were not yet closed, and round those rosy
lips
The wonted smile returned. Silent and pale
(Sad tone.} The father stands : no tear is in his ^ye :
(Resonant.} The thunders bellow but he hears them
not:
120 PIECKS ANNOTATED.
The ground lifts like a se"a ; he knows it
not :
The strong walls grind and ga"pe : the vaulted
roof
Takes shape like bubble tossing in the wind =
(Tender, See ! he looks up and smiles ; for death to him
tlow and low.} Is happiness. Yet, could one last embrace
Be given, 'twere still a sweeter thing to die.=
It will be given. Look ! how the rolling
ground,
At every swell, nearer and still more near
Moves, towards the father's outstretched arms,
his boy :
Once he has touched his garment : how his
eye
Lightens with love and hope and anxious fears!
Ha ! see ! he has him now ! he clasps him
round ;
(Passionate Kisses his face ; puts back the curling locks
tenderness.} That shaded his fine brow ; looks in his eyes ;
Grasps | in his own | those little dimpled
hands ;
Then | foils him to his breast, as he was wont
To He when sleeping; and resigned | awaits
undreaded death.
(Slow and low.} And death came soon and swift
And pangless. The huge pile sank down at
once
Into the opening earth. Walls Arches
roof
And deep foundation stones all mingling
fell!
PIECES ANNOTATED. 121
EXTRACT FROM A SHORT SACRED DRAMA,
"THE SON OF PERDITION."
BY G. BLATCH.
[Immediately after a soliloquy by Judas, -while he yet trembles at the
-result of his meditations, a dark cloud appears before him, which sl<noly
unfolds ant discovers a majestic figure of great personal beauty, but
bearing on its features the impress of tht deadliest passions. ~\
JUDAS. Ha ! what art thbii
That thus intrudest on my misery,
With such unearthly glare ?
SATAN. Thine enemy /
The enemy of souls ! the foe of Heaven /
Shrink not, nor look aghast thou know"st\\. true ;
And evtn S&tan can bear righteous record
^"that his purpose need\\..
JUDAS. Specious fiend
Why dost thou blast me with thy presence thus ?
HeYice ! back to Hell's remotest shades begone.
I do adjure thee by the living
SATAN. Hold !
Hold ! Judas. Name thou not the mighty name ;
It is denied thee. Never more thy lips
Shall give it utterance. 'Twas my purpose no\v
To tell thee thou art mine : thy hour is come ;
Thy span of mortal being's well nigh closed ;
The foredoomed thread of thy accursed life
Hath reached its almost, utmost verge on c&rth ;
The long remainder of existence, all
The countless years of dread eternity,
Shall usher endless torments to the wretch
That dared betray the righteous Son of God !
PIECES ANNOTATED.
Hd, Judas ! tremblest ? Twas a damning deed,
And merits rw//the destiny of hell.
Aye, thou art mine for EVER ! Not the wbrst,
The boldest rebel in demoniac form,
Hath e'er conceived so blasphemous a crime.
And then, the holy seeming thou didst bear,
When first the Saviour called thee to Himse'lf
The righteous semblance turned to deepest crime
Hath added tenfold to thy misery !=
Judas ! thou art one that human kind
Can nei er parallel again. Alone thou standest
Distinct in thine incomparable guilt.
Immeasurable, unpardonable,
Thy matchless sin.
Ha ! shrinkest ? tre'mblest ? Judas, 'tis in vain
To seek repose 'neath such a weight of crime !
Thou call'st for sleep, for sweet, refreshing sleep,
The blest reward of wearied innocence,
The boon awarded only to the good !
Canst thou then dare to think of steep ? Canst thou
Presume to hope the forfeited repose
Accorded only to the guileless soul?
Vain mortal ! To thy doomed existence now
Only one sleep can be available :
The tomb alone can give thy body re's! ;
Thy soul can ne'er know slumber nor repbse.
Till the last awful trump shall sound, thy clay
May find oblivion in the rotting grave ;
But the ethereal essence of thy life,
The soul imperishable, shall wing its way
To endless tbrments ! = Hark ! the spirits lost,
The denizens of he'll, unite their cries
PIECES ANNOTATED. I2J
To welcome THEE among them. = Come, then, come
No peace is to thee here. Shake off thy clay :
Son of perdition ! give thy body rest !
Curse God and die ! So Satan counsels thee.
Thy fate is sealed. And se'e ; the glorious host
Of earth's reformers ministers of Him
Who died, by thee betrayed approach thee now,
To curse thee, aye, to CURSE thee ! = I must he'nce ;
The light of righteousness offends my sight. =
Judas ! we speedily shall meet again I
MARINO FALIERO'S ADDRESS.
(Solemn I speak to Time and to Eternity^
monotone^ Of which I grow a portion not to met//.
{Invoking.) Ye elements | in which to be resolved
I hasten | let my voice be as a spirit
Upon you ! ye blue waives ! which bore my
banner !
Ye winds ! which fluttered o'er as if ye Idved it,
And filled my swelling sails, as they were wafted
To many a triumph ! Thou my native earth,
Which I have bled for and thou, foreign earth,
Which drank this willing blood from many a
wound /
Ye stdnes, in which my gore will not sink, but
Reek up to Heaven ! ye skies, which will re-
ceive it !
Thou sun ! which"shinest on these things and
THOU !
Who kindlest and who quenchest suns !
Attest /=
124 PIECES ANNOTATED.
7am not innocent but are these guiltless ?
I perish, but not ;/;;avenged ; far agfs
Float up from the abyss of time to be
And show these dyes before they close, the
doom
(With in- Of this proud city, and I leave my curse
tensity.} On her and hers for ever : = Yes, \ the hours
Are silently engendering of the day,
When she, who built against Attila a bulwark,
Shall yield and bloodlessly and basely yield
Unto a bastard Attila, without
Shedding so-much blood in her last defence,
As these old veins \ oft drained in shielding her [
Shall pour in sacrifice. She shall be bought
(Scornful.*) And sold, and be an appanage to those
Who shall despise her ! She shall stoop to be
A province for an Empire, pe"tty town
In lieu of capital with slaves for senates,
Beggars for nobles, panders for a people ! =
Then when the Hebreiv s vn. thy palaces
The Hun in thy high places and the Greek
Walks o'er thy mart and sm\les on it for his
When thy patricians beg their bitter bre"ad
In narrow streets, and | in their shameful need |
Make their nobility a plea for pity /- -
When all the ills of conquered states shall cling
to thee,
Vice without splendour, sin without relief
E'en from the gloss of love to smooth it o'e"r,
But in its stead - coarse lusts of hdbitude,
Prurient yet passionless, cold studied Idwdness,
Depraving natures frailty to an art ;
PIECES ANNOTATED. I 25
When these and more are heavy on thee--when
Smiles without mirth, and pastimes without
pleasure,
Youth without honour, age without respect
Meanness and weakness, and a sense of woe |
'Gainst which thou wilt not strive, and DAR'ST
not murmur |
Have made thee last and worst of peopled
deserts :
e, and Then an the last gasp of thine agony,
with passion.) Amidst thy many MURDERS, think of MINE ! =
(Loud tone, Thou DEN of DRUNKARDS with the blood of
scornful, and princes !
passionate.} GEHENNA of the WATERS ! thou SEA SODOM !
THUS I devote thee to the infernal gods !
THEE and thy SERPENT SEED ! =
Middle tone, Slave, do thine office f
gradually ris- Strik ^ j struck the/**/ strike as I would
ing to the last
"strike"; Have struck those tyrants ! strike deep as my
then the last , .
thtee words in Curse I
middle tone.} STRIKE and but once.
THE FLIGHT OF XERXES.
BY Miss JEWSBURY.
(Descriptive.} I SAW him on the battle eve
(Proudly.} When, like a king* he bore him
Proud hosts' in glittering helm and greave-
And prouder chiefs before him ;
The warrior and the warrior's deeds
The morrow and the morrow's meeds
126
PIECES ANNOTATED.
No daunting thoughts came o'er him ;
(Slowly.) He looked around him and his eye 3
Defiance flashed to tarth 4 to sky.
He looked on ocean 5 its broad breast
Was covered with \i\sfleet ;
On earth 6 ; and saw from east to west,
His bannered millions meet ;
While rock 7 and glen and cave and coast
Shook with the wary- cry of that host,
The thunder of their feet !
(Slow and He heard the imperial echoes ring,
sonorous.) He heard and^// himself a king. =
(S7ow and with I saw him next alone. Nor camp,
a certain sadness.) Nor chief his steps attended ;
Nor banner blazed, nor courser's tramp
With war-cries proudly blended.
He stood alone, whom Fortune high
So lately seemed to deify ;
He, who with Heaven contended,
Fled 8 like a fugitive and slave !
Behind 9 the foe ; before the wave.
{Slow and with He stood : fleet, army, treasure gone,
feeling.) Alone and in despair !
(Quicker and But wave and wind swept ruthless on,
higher?) For they were monarchs there ;
And Xerxes, in a single bark,
Where late his thousand ships were dark,
Must ail their /tfry dare ;
(Reflective: What a revenge 10 a trophy, this
serious.) For thee immortal Salamis !
PIECES ANNOTATED. 127
I. Raise yourself to your full height, and cross arms on breast. 2.
Sweep both arms out, palm upwards; emphasize at "chiefs," then
drop. 3. Try to put the proper expression into your face, and, if possi-
ble, also into your eyes. 4. Direct eyes and point right hand down-
wards ; then, with a graceful curve, point and look upwards at " sky,"
at the same time drawing your right foot back. 5. Point with right
hand, palm rather up, nearly to your level front and move slightly
towards right. 6. Point downwards to right; at "saw "move hand,
index finger out, knuckles up, back towards breast. 7- ^weep out
right arm, level front, towards right ; bring up left arm and sweep out
towards left ; at " shook " emphasize gesture, and drop hands. 8.
Throw out right arm, rather towards front. 9. Point with right hand,
palm up, behind you ; then, with graceful curve, point front downwards
at "before," with index finger, knuckles up. 10. Extend both arms,
level front, palm up ; at " trophy " give an emphatic gesture, and drop
at "this."
THE GLOVE AND THE LIONS.
KING FRANCIS was a hearty King, and loved a royal
sport,
And one day as his lions fought sat looking on the court ;
The nobles filled the benches round, 1 the ladies by their side,
And 'mongst them, Count de Lorge, with one he hoped to
make his bride :
And truly 'twas a gallant-fang,* to see that courtly show,
Valour and love and a King above, and the royal beasts
below.
Ramped and ROARED the lions, 4 with horrid laughing jaws ;
They bit they glared gave blows like beams a wind
went with their paws ;
With wallowing might and stifled roar they rolled 4 one o'er
another,
Till all the pit, 5 with sand and mane, seemed in a thunderous
smother ;
128 PIECES ANNOTATED.
The bloody foam, above the bars, came whizzing 6 through
the air ; =
Said Francis then, " Faith, gentlemen, 'twere better here?
than there ! "
De Lorge's love overheard the King a beauteous, lively
dame,
With smiling lips and sharp black eyes, which always seemed
the same ;
She mused, 8 " The Count, my lover, is as brave as brave
can be.
He surely would do desp'rate things to show his love of
me \
King, ladies, lovers, all look on the chance is wondrous
fine : -
I'll drop my glove to prove his lore great glory will be
mine ! "
She dropped 10 her glove to prove his love ; then looked at
him and smiled ;
He bbwed and in a moment leapt" among the lions
wild;
The leap was quick, return was quick he soon regained his
place,
Then threw" the glove, but not with love, right in the lady's
face ! =
" Bravo ! " cried Francis, " rightly done." and he rose from
where he sat ;
" Not love," quoth he, " but vanity sets love a ta"sk like that T
I. Extend right hand in front, palm up, and sweep round to right ;
then turn hand, knuckles up, and point with index finger. 2 Both
PIECES ANNOTATED. 1 29
hands out, palm up ; then drop left arm, and at "valour " point with
right forefinger rather over left shoulder, then sweep round and point
forwards and downwards at "below." 3. Clench hands and stamp
with right foot, at the same time try to put some harshness into the
voice. 4. Make a motion with both hands as if two animals were
rolling over each other. 5. Drop left arm, and point to pit with right
hand, palm up, moving hand slightly to right ; drop at " smother." 6.
Throw up right arm, and revolve forefinger at " whizzing ; " then drop.
7. Point backwards towards right, with right forefinger, and then
towards pit at " there." 8. Support right elbow in left hand, and
place right forefinger on lips ; droop head slightly forward. 9. Raise
head and give a slightly outward motion with right hand ; pause at
"fine;" then brighten up the voice. 10. Slide right foot forward,
resting left foot on ball of toe only, and with right forefinger and
thumb appear to drop something ; then recover to left foot ; turn to
right, and smile; then turn to left, and bow. II. Sharp note, slide
right foot forward, throw both arms out quickly, palms upwards, then
drop ; recover quickly on left leg. 12. Appear to hurl a glove at some-
body to your left front.
THE CURSE FROM " CLAUDIAN."
(KINDLY FURNISHED BY WILSON BARRETT, ESQ.)
BE young 1 for ever through the centuries. See genera-
tions born* and age and DIE ; and all who flattered, 3
served or loved thee dust. But thou live on. 5 Thy
course like baneful star 6 across the sky" shall blight 7 and
wither all upon thy track. To Ibvc thee, 8 or to be beloved
by thee 9 alike shall poison, maim, and kill. The inno-
cent sunshine 10 shall die out before thee, and the black
shadow" of misfortune follow. Thy soul shall hanker 1 ' 2
thirst and FAMISH to do good, and try in vain to do it.
Thy happiness as pure 13 as crystal well touched by thy
lips shall muddy at its source. Thy pity 14 shall envenom
what 'twould so6the ; be poison 15 to the wdund, till thou
could'st pray 16 for death and pray for it in vain. 17 Thy
chdrity 18 which might have comforted one half the King-
dom's poor breed pestilence and ruin But thou" live on
10
130 PIECES ANNOTATED.
in thy never-failing youth, until the vaulted rocks shall split
and fall and mass themselves before the barriers of
granite ; until a gulf 20 be struck 'twixt thee and me
then, thou 21 shalt choose either to die, or live accursed till
doom = From dying lips, 22 this curse from God has fallen.
I. Raise right hand, palm up, half front, emphasize gesture at " for
ever," and drop. 2. Extend both hands, palm up, about level of
breast; at "age," emphasize gesture; at "die," drop. 3. Extend
right hand, palm up ; at " served " emphasize ; at " loved " bring hand
back to breast; at "dust," direct arm downwards, pointing to ground,
but don't drop. 4. Bring hand upwards, with a turn, to level of breast,
knuckles up and index finger alone pointing. 5. Turn hand, palm up,
and emphasize. 6. Raise hand, palm inwards, index finger alone
pointing to sky. 7- Lean forward on right foot, bring hand down,
palm rather outwards ; at "wither " emphasize gesture, and then drop,
resuming first position. 8. Both hands, palm up, extended. 9. ""
both hands to breast ; keep left hand there ; extend right, palm down,
at " poison ; " at "maim," raise hand slightly, at the same time closing
it ; at " kill " drop both hands. 10. Open right hand extended up-
wards, eyes in same direction ; at "die " bring closed hand back close
to head and look straightforward. 1 1. Lower hand, palm down, move
it towards right, and drop. 12. Bring right hand up to breast, gradu-
ally closing it tightly ; at "in vain " extend hand, palm up, then drop.
13. Extend both hands, palm up, about level with breast. 14. Right
hand index finger brought up towards breast; at " envenom," extend
hand out, palm down, and drop at "soothe." 15. Bring right foot
behind left, extend both hands, palm up, then drop left arm. 16. Clasp
both hands on breast and look upwards. 17. Drop clasped hands
forward, and let head sink on breast. 18. Extend both arms,
palm up ; at "comforted " bring back to breast and clasp hands ; at
" pestilence " extend both hands outwards and downwards, palm down ;
then drop. 19. Extend open right hand; at "live on" emphasize
gesture ; at "vaulted " turn hand upwards ; at "split " give an upward
cut with hand; at "fall" bring hand down to level of waist; at
"mass" bring up left hand to same level, and emphasize with both
hands; at "granite" drop. 20. Sweep with right hand out horizon-
tally in front toward right ; turn hand and point with index finger at
"thee;" at "me" bring back to breast. 21. Right index finger
pointing; at "die" turn hand, palm up, and emphasize; at " live,"
raise hand about level of head ; at "accursed " bring back closed hand
towards head, turn away head and half close eyes ; at " doom " drop
hand, and direct eyes forward. 22. Place open left hand on breast,
raise eyes and open right hand upwards ; when uttering " God " close
eyes, bend head downwards and slightly towards left ; dron arm at
"fallen."
PIECES ANNOTATED. 131
THE BATTLE HYMN OF THE
LANDSTURM.
BY KORNER.
FATHER of Earth and Heaven ! I ca"ll Thy name !'
Rou nd me* the smbke and shout of battle roll ;
My eyes 3 are dazzled with the rustling fUme ;
Father ! sustain 4 an untried soldier's soul.
Or life, or de&th, whatever be the gdal
That crowns, or closes round, this struggling hour,
Thou knowest, if EVER, from my spirit, stole
One deeper prayer, 'twas that no cloud might lower
On my young fame ! = O hear I 1 God of eternal power !
God ! Thou art merciful /=The wintry st<5rm,
The cloud that pours the thunder from its womb,
But show the sterner grandeur of Thy form ;
The lightnings, 3 glancing through the midnight gloom
To faith's raised eye as calm, as lovely, come,
As splendours 6 of the autumnal evening sta*r,
As roses shaken by the breezes plume,
When like cool incense comes the dewy air,
And, on the golden wave 7 the sunset burns afar.
God ! Thou art mighty ! = At Thy footstool boiind,
Lie gazing to Thee, Chdnce and Life and Death ;
Nor in the Angel circle flaming round,
Nor in the million worlds that blaze bene'ath,
Is one* that can withstand Thy wrath's hot breath. =
Woe in Thy frown ! in Thy smile victory !
Hear my last prdyer ! = I ask no mortal wreath ;
Let but these eyes my rescued country see,
Then take my spirit 9 All Omnipotent to Thee.
132 PIECES ANNOTATED.
Now for the FIGHT !" now for the CANNON PEAL !
FORWARD !" through blood and toil, and cloud and
fire!
Glorious the shock, the shdut, the crash of ste"el,
The volley's rbll, the rocket's blasting spire ; =
I3 They shake ! like broken waves, their squares retire. =
U ON THEM, hussdrs \ = Now give them rein and heel ;
Think of the orphaned child, the murdered sire :
Earth calls for blood, in thunder on them whe"el !
IJ This hour to thraldom's fate shall set the triumph seal !
The first three verses must be all given with sonorousness, and rather
in slow time ; the last verse in high tone and quick. I. Clasp hands
and look upwards, standing in second position, 2. Assume first posi-
tion, sweep right hand, palm down, towards right, and drop. 3. Place
left hand on eyes. 4. Left hand on heart, right hand, palm up,
extended upwards, rather towards front, eyes also in same direction.
t, Quick jerk with right index finger, and bring back to breast. 6.
weep hand slowly out, palm up, towards right ; then curve down, and
at "roses" point with index finger towards ground ; drop at "plume."
7. Extend right arm, palm up, rather towards front, about level of
breast. 8. Extend right hand out emphatically, palm up. 9. Place
both hands on left breast, and then slowly extend right arm upwards
towards front. IO. Quicker and resonant. Put all your soul out.
II. Bring clenched hand quickly up to breast. 12. Sweep arm boldly
out towards front, at the same time assuming second position. 13. Re-
sume first position, bend slightly forward, direct right hand outwards,
palm down, and drop at "retire." 14. Spring up to your full height,
and 12. 15. This line slowly and in triumphant tone.
THE BATTLE OF THE LEAGUE.
BY MACAULAY.
(Solemn tone.} 'Now | glory to t\\Q Lord of Hosts, from whom
all glories are !
(Bright.) "And glory to our Sovereign Liege, King
Henry of Navarre.
PIECES ANNOTATED. 133
(Joyous.'] Now | let there be the merry sound of music
and of dance
Through thy cornfields green and sunny vines,
O pleasant land of France !
(Affectionate,) And thou, 3 Rochelle | our own Rochelle |
proud city of the waters,
Again | let rapture light the eyes of all thy
moutning daughters :
As thou wert constant in our ills be joyous in
our jdy,
For 4 cold | and stiff | and still | are they who
wrought thy walls annoy |j
(Exulting.} 5 Hurrah ! Hurrah ! a single field has turned
the chance of war :
Hurrah ! Hurrah ! for Ivry* and Henry of
Navarre !
(Anxious} Oh ! how our 6 hearts were beating, when, at
the dawn of day,
7 We saw the army of the League drawn out
in long array ;
With all its priest-led citizens and all its rebel
peers,
And Appenzel's stout infantry and Egmont's
P'lemish spears.
(Fierce indig- *There rode the brood of false Lorraine, the
nation.} curses of our land !
And dark Mayenne was in their midst, a
truncheon in his hand ;
* Pronounced Ee-vry.
134 PIECES ANNOTATED.
And, as we looked on them, we thought of
Seine's empurpled flood,
And good Coligni's* hoary hair all dabbled
with his blood;
{Invoking.') 'And we cried unto the living Power who
rules the fate of war,
To fight for His own holy name and Henry
of Navarre ! I]
(Descriptive.} The king has come to marshal us, all in his
armour drest ;
And he has bound a snow-white plume upon
his gallant crest.
(Tenderly.} IO He looked upon his people, and a tear was in
his eye ;
(Sternly.} "He looked upon the traitors, and his glance
was stern and high.
(Courteously.} Right graciously he smiled on us, as rolled
from wing to wing,
Down all our line, a deafening shout, " Long
live our lord the king ! "=
(Encourag- " And if my standard-bearer fall, as fall full
we N ne mav
For never saw I promise yet of such a bloody
fray-
Press where you see my white plume shine,
amidst the ranks of war,
And be your oriflamme, to-day, the helmet of
Navarre."
" Co-leen-ye.
PIECES ANNOTATED. 135
{Excitedly and Hurrah ! the foes are moving! Hark to the
in quick time.} mingled din
Of fife and steed and trump and drum and
roaring culverin !
"The fiery Duke is speeding fast across St.
Andrews plain,
With all the hireling chivalry of Guelders and
Almayne
( With instiga- " Now by the lips of those ye love, fair
tion.) gentlemen of France,
^Charge for the golden lilies now ! Upon
them with the lance ! "
( With anima- A thousand spurs are striking deep, a thou-
tion and sand spears in rest,
energy.} A thousand knights are pressing close behind
the snow-white crest !
14 And in they bursf, and on they rushed, while,
like a guiding star,
Amidst the thickest carnage blazed the helmet
of Navarre !
(Exultation Now, heaven be praised, the day is ours!
with thank- Mayenne hath turned his rein ;
fulness.} D'Aumale : hath cried for quarter ; the
Flemish Count is slain.
Their ranks are breaking like thin clouds
before a Biscay gale ;
The field is heaped with bleeding steeds |
and flags | and cloven mail.
* Do-mal.
136 PIECES ANNOTATED.
(Threatening,*} And then we thought on vengeance \ and all
along our van
" Remember St. Bartholomew ! " was passed
from man to man ;
(Entreating.} But out spoke gentle Henry, " No Frenchman
is my foe :
Down, down, with every foreigner, but let
your brethren go."
(Admiration} Oh ! was there ever such a knight, in friend-
ship or in war,
As our Sovereign lord, King Henry, the
soldier of Navarre !
'(Sarcastic Ho ! maidens of Vienna ! Ho ! matrons of
bit fern ess.) Lucerne !
Weep, weep, and rend your hair, for those
who never shall return.
Ho ! Philip, send, for charity, thy Mexican
pistoles,
That Antwerp monks may sing a mass for thy
poor spearmen's souls !
Ho ! gallant nobles of the League, look that
your arms be bright !
Ho ! burghers of St. Genevieve, keep watch
and ward to-night !
(Reverently.} For is our God hath crushed the tyrant, our
God hath raised the slave,
And 1<5 mocked the counsel of the wise and
the valour of the brave.
(Gratitude.) 'Then glory to His Holy name, from whom
all glories are ;
(Admiration 2 And glory to our Sovereign lord, King Henry
and love.) of Navarre.
PIECES ANNOTATED. 137
I. Raise both arms to heaven appealingly. 2. Drop left arm, and
sweep right arm round, palm upwards, and then drop. 3. Extend both
arms slightly, then drop. 4. Point with right hand to the ground.
5. Wave right hand twice over head. 6. Place left hand on heart. 7.
Raise right hand to horiaontal position, palm upwards, and sweep slowly
round. 8. Turn palm downwards, and use index finger, then drop.
9. Raise right hand towards heaven. 10. Point to left with open left
hand, palm upwards. II. Point to right with right index finger. 12.
Point with right index finger and move round to right. 13. Throw out
your right hand, palm upwards, at "charge" and "upon." 14. Put
hands together, throw them out quickly, palm downwards ; let left drop,
sweep right round, and throw it out horizontally at "rushed" at
"blazed" point with right index finger. 15. Raise open right hand
above head ; clench it at the word "crushed," which is to be uttered
in appropriate tone. 16. Throw right out, palm outwards.
SCENE FROM VICTOR HUGO'S
"RUY BLAS."
(Cheering tone.} CESAR. (R. Left hand on Ruy's right
shoulder) Hope yet !
(Mournful tone.} RUY (L.) Hopeje//
Brother, you do not know you shall /=
Beneath
(High tone : This sullying and dishonouring garb'
passionate} To have lost j<5y and pride and manhood's
naught.
(Slow tone : I am a slave 1 a VILE slave and what
with intensity} matter 3 ?=
Listen, brother 4 ! In my breast, a serpent,
(Low tone : full With a tooth of flame, winds round and
of feeling and round my heart
passion} Its coils of folded venom. = Zafa"ri !
My outside* shocks thee ! Could'st thou
see within* !
(Surprise.} CESAR. I do not understand !
RUY. Suppose 7 invent
138
PIECES ANNOTATED.
Imagine dream rack out thy brains, and
search
{High tone.} For something wild, incdlculable MAD,
A dazzling fatality ! a passion
(Intense and That like delicious poison, drags my sou?
slow.} Towards an abyss, where crime and ruin
wait.
Thou canst not gue"ss ? Who could ?
Brother, in the
Rapid whirlpool 9 of the destiny that sweeps
Me down, list 10 ! he"ar ! I MADLY love the
Qtieen !
(Amazed) CESAR. The Que"en !
(High tone : RUY. Love her with heart of 'flame 11
rapid, soft, with veins
and tender.} Of fire ! So helpless," beautiful, and
young
So wretched 'mid the vile intrigues of this
(Narrative} Vile Court ! = Brother, she goes each night
to the
Convent of Rosara thou kndwest in the
street
Of Ortaleza. She is fond of flowers,
And one sort chiefly a blue flower, that
grows
In Germany, her native land. Each day
I go a league to gather some. I find them
In the forest 13 . At midnight, like a thief,
I scale the wall, 14 and leave them near a bank
(Low tone : and She oft reclines on. Yesterday, I dared
emphatic.} To put a letter 'mid the flowers. You hear,
PIECES ANNOTATED. 139
Brother, a letter. Ah ! you pity me !
I see I feel you do ! Some night the guard
Will hear and fire. Well, I shall die near
her 15
The sweetest * holiest death for Ruy Bias 1
( With feeling Oh ! I would sell the jewel of my mind
and passion?) To the eternal foe, to be but one
Of those young Cavaliers, who are permitted
(Despairing.} To approach her ! = Leave me, 17 brother.
Go go !
Leave 18 thou the miserable fool who dares
To hide, beneath a lackey's garb, the passions
Of a King.
( With deep CESAR. LeaVe thee ! 19 I who never
(feeling.} suffered
I who never felt grief never 16ved ! A poor
Mendicant, idling my day and night away
To whom, compassionately, Destiny
Will sometimes throw a copper, Ah, Ruy, 20
My friend, I envy thee, that thou canst\Qve !
I. Place tips of right hand fingers on breast ; extend right hand,
palm up, emphasize gesture at " pride " and " manhood." 2. Extend
right hand, palm down, downwards, emphasize at " vile," then drop.
3. Shrug shoulders, at the same time giving a slight outward jerk with
both hands. 4. Right index finger raised ; then slowly bring hand
back towards breast and describe, with index finger, two circles ending
with word " venom." 5. Bring left hand up to breast, and sweep both
arms outwards, palm up. 6. Bring right hand up, index finger pointing
to breast. 7. Extend right hand, palm up, towards right front, empha-
size each word ; at "rack out" give a quick circular motion towards
forehead ; extend right hand upwards, and at " mad " bring down on
forehead. 8. Bring right hand up to breast, gradually clench it and
appear to drag something down towards right. 9. Move right hand in
two under-circular motions, and at " sweeps " extend hand quickly
downwards. 10. Bring right index finger up; at "madly," clasp
hands at top of breast, and move them downwards. II. Bring hand
up to breast. 12. Extend hands, palm up, emphasizing twice, then
140 PIECES ANNOTATED.
drop left hand ; at " wretched " bring closed right hand up to breast ;
at "vile," throw hand out, palm outwards, and downwards towards
right. 13. Point with left hand to left. 14. Motion of right index
finger upwards, palm down ; then turn and, with open hand, point
towards right front. 15. Shrug shoulders. 16. Clasp hands on breast,
and look upwards ; at " sell " lower eyes and bring hands down still
clasped, and emphasize at " but." 17. Extend right hand, palm out-
wards, towards right, turn head rather towards left, and emphasize
twice at "go." 18. Walk off to left, fall into a chair, and drop head
on hands. 19. Place left hand on to right shoulder of the other. 20.
Both join hands.
HAMLET'S SOLILOQUY.
" 'To be or not ] to be | 'that is the question : \\
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fdrtune, |
3 Or to take arms against a sea of troubles,
And | by opposing \ *bid them ? \ TO DIE || TO SLEEP ||
No more,* and | by a sleep \ to say we end
The heartache and the thousand natural shocks
That flesh is heir to ! || 'tis a consummation
^Devoutly to be wished. || 6 To DIE TO SLEEP ||
To SLEEP ! 7 perchance, TO DREAM ! |] Aye, there's the
rub;
For | in that sleep of death | *what dreams may cdme,
When we have shuffled off this mortal coil, || ,
Must give us pause. || THERE'S the respecft
That makes calamity of 9 so long life ; ||
For who would bear the whips and scorns of (the) time,
The oppressor's wrong, | the proud man's contumely \
The pangs of despised love, | the law's delay, |
The insolence of office, and the spurns
That patient merit of the unworthy tdkes, |
* *.*., Is dying only falling asleep and nothing more,
t i.e., Consideration.
PIECES ANNOTATED. 14!
When I0 he himself might his quietus make
"With a bare bodkin* ? | Who would fardels bear,
To groan and sweat under a weary life, | Iz
But that the dread of SOMETHING n dftfr death,
That undiscovered codntry, from whose bourn
No traveller returns, puzzles the will,||
And makes us I4 rather bear the ills we have,
I5 Than fly to others 1<s that we know not of ? |
Thus | CONSCIENCE does make COWARDS of us all ; |
And thus the native hue of resolution
I7 Is sicklied o'er with the/d/<? cast of thought; \
And enterprises of great pith and mtiment,
With this regard, their currents turn awry,
18 And lose the ^name \ of ACTION."
* An old term for a dagger.
I. Stand still for a few moments as if in thought, right elbow sup-
ported in left hand, forefinger and thumb of right hand supporting the
chin. 2. Nod the head. 3. Let the right arm fall on left arm, and
raise your head. 4. Here let the arms loosen themselves, palms
downwards, and then let them drop to the side. 5. Look upwards
devoutly, and place open right hand on breast. 6. Meditative attitude
arms held down in front, fingers intertwined, head inclined slightly
forward and downwards. 7. Raise head and look forward with an
uneasy expression. 8. Raise the head gradually. 9. Utter these three
words very slowly. 10. Extend right hand forwards. II. Strike left
side with right hand. 12. Read down to this somewhat rapidly, for is
not Hamlet pouring out quick coming fancies, as if strengthening his
own failing resolution ? Read the next five lines more slowly and in a
fuller tone. 13. Raise head and eyes slowly. 14. Extend both arms,
hands open, palms upwards. 15. Turn hands round, and elevate them
from the wrists. 16. Raise arms to level of head and drop them to
your sides with a sigh. 17. Raise right hand, palm outward, and move
it from right to left and back again slowly. 18. Extend both arms and
raise the hands, palms outwards. 19. Make a gentle stroke of the
hands forward, and then drop them to your sides.
MARC ANTONY'S ORATION.
(Impressive Friends \ ROMANS | COUNTRYMEN | lend
and slow.} me your ears.
142 PIECES ANNOTATED.
I come to BURY Caesar 1 | not | to PRAISE him.* |
(Higher The tvil that men do lives after them,
pitch.") The good \ is oft interred with their bones. |
(Lower pitch.} So | let it be | with Csesar ! ||
(Higher The noble Brutus
pitch.) Hath told you Caesar was ambitious 3 |
If it were so 4 | it was a grievous fault, 5
(Sorrowful And grievously 6 hath Caesar answered it. |
tone.) Here 1 \ under leave 8 of Brutus and the rest |
(These two lines to be (For Brutus is an honourable man I
uttered in a tone of .
apparent sincerity.} So are they all \ ALL honourable men)
Come I to speak of Caesar's funeral. ||
He was my FRIEND | faithful and just to me |
But Brutus says he was AMBITIOUS |
(Sarcastic.) And Brutus is an honourable man. 9 |
He hath brought many captives home to Rome 10
Whose ransoms did the general coffers fill. |
(Sfow and sonorous) Did THIS" in Csesar seem AMBITIOUS ? |
(With feel- When that the POOR 8 have cried \ CESAR hath
ing.) wept |
(Energetic.) AMBITION should be made of sterner 13 stuff, |
Yet | Brutus says he was ambitious |
(Sarcastic.) And Brutus is an honourable man. ||
(High pitch.) You all did see 10 that | on the Lupercal |
I THRICE presented him a kingly crown,
Which he did thrice REFUSE." | Was THIS am-
bition ? 8
Yet Brutus says he was ambitious |
(Sarcastic.) And, sure, HE is an honourable man. 9 ||
I speak | not to disprove what Brutus spoke |
But here I am 13 to speak what I do KNOW.||
PIECES ANNOTATED. 143
( With feel- You all did love him one? \ not without cause, \
ing.) What cause withholds you then to mourn for
him? |
(Despair- Oh JUDGMENT 14 | thou art fled to brutish beasts,
ing.} And Merf* have lost their reason. | Bear with
me, 16
My heart is in the coffin there \ with Caesar |
And I must pa use 17 \ till it come back to me.||
If you have tears \ prepare to shed them now. \
You all do know this mantle : \ I remember
(Sorrowful The first time ever Caesar put it on ; |
tone.) 'Twas on a summer's evening in his tent ;
That day he overcame the NerviiJj
(Sonorous, LOOK ! | in this place | ran CASSIUS' dagger
passionate, through; |
and rapid.) See what a rent the envious Casca made ! |
Through THIS | the well-beloved Brutus stabbed.
And | as he plucked his cursed steel awa"y, |
Mark how the blood of Caesar followed it.
( With emo- THIS | was the most unkindest cut of all ! |
tion.) For | when the noble Cassar saw HIM stab |
INGRATITUDE j more strong than traitor's arms |
Quite vanquished him. || Then burst his mighty
heart \
And | in his mantle | covering up his face |
Even at the base of Pompey's statue
(Which all the while ran blood) GREAT CAESAR
FELL.
Oh ! WHAT a fall was there, my countrymen, |
Then I and YOU and ALL of us fell down
Whilst bloody TREASON nourished over us.
144 PIECES ANNOTATED.
I. Point slowly with right hand, and also direct eyes, to an imagin-
ary coffin; then drop hand. 2. Look upwards. 3. Extend both
hands boldly, palm upwards, then drop left hand. 4. Bring right
hand up towards right ear. 5. Extend hand, palm outwards. 6. Drop
hand, at the same time looking at body. 7. Raise head. 8. Extend
both hands, palm upwards. 9. Shrug shoulders and utter the words in
a sarcastic tone. 10. Extend right hand, palm upwards, emphasize
" ransoms." II. Sharp, firm gesture on *' this " with right forefinger.
12. Sharp, firm gesture with right forefinger raised slightly above head,
then emphasize "thrice," sweep hand upwards and bring hand down,
palm slightly outwards, with an emphatic moTement on second "thrice."
13. Point with right forefinger to breast, then at " know " throw hand
outwards emphatically. 14. Clasp hands on breast, and look upwards.
15. Drop head on breast. 16. Extend both hands, palm upwards ; at
" heart," place right hand on heart ; at "there," extend it downwards
and point to coffin. 17. Shake head sadly.
CLITO'S ADDRESS TO THE MEN OF
ATHENS.
(Kindly supplied to me by WILSON BARRETT, Esq.,
whose impersonation of the hero in "Clito" was one of
his happiest efforts.)
Freemen of Athens | Fellow citizens !
Freemen by birth I \
(Scornful.} Have ye the souls of sldves ? \
How long shall bloody butchery and liist
Be the crowned Kings of our unhappy
sta"te |
And gross corruption | like a pestilence |
Ravage a spot the gods have made so fair?||
(Resonant.) Friends, | there are times when patience
is a crime, |
Inaction, treason, sufferance, a stn. |
Such time is this \ when Liberty lies
crushed,
PIECES ANNOTATED.
145
Mangled and bleeding trodden under
foot ;
{ With intensity When all-devouring license stalks the land |
and in low tone.} Like a lewd spectre with unwholesome
breath |
Making all things it breathes upon J
unclean. '\
(Inspiring.) Sons of your fdlhers ! | Heirs of Pericles ! |
Rise to his height ! | Be worthy of your
sires! \
If you will not do battle for yourselves, \
(Instigating.') You \ who are husbands \ will you see your
wives
Foully dishonoured | and stand tamely by? |
You \ who are fathers \ will you see your
sons
Consigned to death) to bondage, to despair /
Your daughters outraged, | ruined | and
betrayed
To worse than death | the slavery of
shame ?\\
(Appealing.} Freemen of Athens | will you stand by me
In triumph | in defeat | in life | in death ? jj
(Passionate Freemen of Athens \ \ BROTHERS ! | Will
emotion. you swear
Upon your father's bones | and by the
gods
Whose altars hallow yonder Parthenon |
That you will either perish \ or will pluck
This plague-spot from your hc&rt ?
II
146 PIECES ANNOTATED.
FROM "THE SPANISH MOTHER."
(Narrative?) She glided here 1 she glided the're 2 before our
wandering eyes,
Nor hnger showed, nor shame, nor fear, nor
sorrow nor surprise ;
At every step from soul to soul 3 a nameless
horror ran 4
(Low and And made us pale and silent as ///tf/ 5 silent
slow.} murdered man.
She sat and calmly soothed her child into a
slumber sweet ;
Calmly the bright blood, on the floor, rolled 4
red around our feet ;
On placid fruits and bread lay soft the shadows
of the wine,
(Slow and While we like marble figures glared 7 a chil
low.) unmoving line,
All white and cold = And moments "thus flew
by without a breath,
A company of living things where #//was still
but death
(Namtifve.) My hair rose up from roots of ice, as thus un-
nerved I stood
And watched the only thing that stirred t\\Q
ripple of the blood.
At length that woman's' voice was heard, which
broke the solemn spell,
And human fear displacing awe upon our
spirits fell.
PIECES ANNOTATED. 147
(Resonant " Ho ! slayers of the sinewless ! 8 Ho ! tramp-
and lers of the weak !'
sarcastic.} What ! shrink ye from the ghastly meats and
life-bought wine ye se"ek ?
feed and begone 10 I wish to weep I bring you
out my store, 11
( With in- Devour it 12 waste it all and then pass 13
tensity.) and be seen no more,
(Higher tone POISON? is that your craven fear ?" = She
and with seized a goblet up,
Scorn.) And raised it to her queenlike head as if to drain
the cup.
But our fierce leader grasped her wrist "No !
woman ! No" he said.
"A mother's heart of love is deep Give it your
child instead."
She only smiled a bitter smile " Frenchman, I
do not shrink,
As pledge of my fidelity behold the infant
drink."
i. Point with right index-finger towards left, knuckles up ; then 2
towards right, knuckles down. 3. Bring right hand up to left breast.
4. Slowly move right hand round towards right, palm down and rather
outwards. 5. Turn palm up, and point downwards. 6. Open right
hand pointed towards floor, front and moving to right. 7. Bring right
hand up towards breast, and move outwards slightly and slowly, palm
outwards ; drop at " cold." 8. The woman is supposed to start up
here. Therefore, slide right foot forward, throw out right hand palm
up. 9. Emphasize 8, then drop. 10. Quick gesture with open right
hand outwards. II. Extend both arms, palms up. 12. Emphasize II,
then drop left hand. 13. Sweep towards right hand and extend it
towards right, palm down. The gestures for the following are so self-
evident that they need not be given ; but the last gesture, holding the
goblet to the infant's mouth, must not be too pronounced.
I AM proud to append the following letter received from Mr. Willard
in response to a request that he would frankly give me his opinion as to
my study of " The Spanish Mother." Coming from one who, by his
148 PIECES ANNOTATED,
impersonation of Tarquin mjunius was universally admitted to have
stepped into the very front rank of artistes, his letter is at once gratify-
ing and valuable. The suggested alterations and additions refer to
lines 15-18.
"Princess' Theatre, March 29th, 1886.
"DEAR SIR,
" I hare, as you desired, carefully considered your ' Study in Elocu-
tion,' and congratulate you most heartily upon the success with which
you have treated a very difficult subject. Your treatment could scarcely
be improved upon, but, if I might, I would suggest the following altera-
tions, not in any carping spirit, but as a proof that I have been
interested in your work,
" Yours faithfully,
"EDWARD S. WILLARD."
RIENZI'S ADDRESS.
[Two haughty factions in Rome were rivals of each other, and, in the
feuds between them, Rienzi, a man of very humble birth but of good
education and aspiring mind, saw a chance of deliverance for Rome,
An insult having been offered to one of the citizens, he harangues the
people on their many and bitter wrongs, and contrasts their ancient
glory with their present degeneracy. The oppressors are put down, and
Rienzi is then elected Tribune.]
I come not here to talk. \ You know too well
The story of our thralldom: j We are | slaves P
(Slow.} The bright sun rises 2 to his course | and lights
A race | of slaves ! || He sets 3 | and his last
beam
Falls | on a slave.||
(Brighten up Not such as, swept along
voice.) By the high tide of power, the conqueror
lead
To crimson glory and undying fame :
( With inten- But base 4 | ignoble slaves ; | slaves to a horde
sity and scorn }Qi petty tyrants, feudal despots, lords, \
Rich | in some dozen paltry villages, \
Strong in some hundred spearmen, \ only great
PIECES ANNOTATED. 149
N
(Stow.} In that strange spell \ a NAME, ||
(Quicker a*d Each hour, | dark fraud,
higher tone.} Or open rapine, or protected murder, \
Cries out against them. | But this -very day,
An honest man, my neighbour | there he
stand? |
( With Was struck, \ struck like a dog? by one who
passion.} wore
The badge of Ursini ! because, forsooth,
{Scornful and He tossed not high 8 his ready cap in air,
contemptuous Nor lifted up his voice in servile shouts
tone} At sight of that great ruffian !
{Loud, passionate Be we men
and frowning.} And suffer such dishonour ? MEN, and
wash not
The stain away in blood"? \
(Low and slozv.} Such shames are common, j
/ have known deeper wrongs | I that speak
to you, |
(Low and I had a brother once, | a gracious boy,
Tender} Full of all gentleness and calmest hope,
Of sweet and quiet joy; | there was the
look
Of Heaven 9 upon his face which limners
give
To the beloved disciple. | How I loved
That gracious boy! | younger by fifteen
years, |
Brother at once and son. || He left my
side,
A summer bloom on his fair cheeks, a
smile
150 PIECES ANNOTATED.
Parting his innocent lips.
(Slotv, low, and In one short hour
s/ern.} ']L\\&\. pretty \ harmless boy | was slain. ||
( With intensity, I saw
gradually rising The corse, the mangled corse and then |
to passion.} I cried
For VENGEANCE ! IO || ROUSE," ye Romans '.
rouse," ye SLAVES ! |
Have ye brave sons ? Look, in the next
fierce brawl, 13
To see them die! Have ye daughters
fair ? Look,
To see them live, torn from your arms, 14
distained, dishonoured !
(Slow and low; And if ye dare to call for justice,
" /as/i" sharply?) Be answered with the lash/ \ yet t/iisis
Rome,
That sat' 5 upon her seven hills, and |
from her throne
Of beauty | ruled the world ! Yet wt \
are Romans ! \
Why, | in that elder day | to be a Roman
Was greater than a KING ! || And once
again |
Hear me, ye walls, 16 that echoed to the
tread
Of either Brutus, | once again I swear* 1
(Slow, intense, The Eternal City shall be free ! Her sons
lofty tone.} Shall walk with princes !
I. Extend both hands towards front, palm upwards, and drop. 2.
Extend right hand up towards right, and drop at "slaves." 3. Point
with index ringer somewhat horizontally to left, drop at "falls." 4.
Extend right hand rather downwards, palm downwards ; repeat gesture
PIECES ANNOTATED. 151
on ".ignoble ;" drop at "slaves." 5- Extend right hand towards front
palm upwards. 6. Point to left with index finger of left hand. 7.
Direct clenched right hand downwards violently. 8. Jerk right hand
upwards, index finger extended. 9. Look upwards, and raise right
hand forward gently a little above level of head, palm up. 10. Clench
both hands, il. Fling out right hand, palm up. 12. Slide right foot
forward, rest on right leg, the ball of left toe alone touching the
ground ; repeat the gesture. 13. Point to the right, index finger out,
back of the hand up. 14. Make a motion with both arms towards left,
as if tearing away something from your breast, at the same time
moving body backward ; drop left hand and bring right hand up to
breast; at "lash," sweep right hand, index finger extended, down-
wards towards right side. 15. Sweep right hand, palm up, round
slowly towards right. 1 6. Extend both arms right and left respectively,
palms up, and move your eyes slowly from right to left and back again.
17. Look upwards, raise open right hand, and at "shall " clench hand
and 'emphasize the word.
A copy .of the Magazine, containing the above, was sent to M.
Legouve, Membre de 1'Academie Franchise, and one of the Council of
the Conservatoire National de Musique et de Declamation the great
training school of French actors who returned the following reply :
" Seine Porte (Seine-et-Marne). Monsieur, II est evident que la
gesticulation peut s'enseigner comme 1'intonation, mais dans quelle
mesure, c'est la ce qu'il est fort difficile de regler. II faut consulter
la nature de 1'eleve, et le caractere du morceau. L'exemple que vous
citez du discours de Rienzi me parait renfermer des indications justes,
mais en pareil cas il faut voir pour decider. Je ne puis que vous
remercier, au nom de 1'art de diction, des efforts que vous faites pour la
transporter en Angleterre, et je ne doute qu'avec 1'esprit d'initiative et
d'intelligante ardeur que vous y apportez, vous ne puissiez arriver a des
resultats heureux. Personne ne s'enfelicitera plus que moi, et je vous
prie d'agreer 1'expression de ines sentiments les plus distingues. E.
LEGOUVE."
THE LORD'S PRAYER.
OUR Father-which-art-in heaven HMlowed be Thy Name |
Thy kingdom come || Thy will | be done in earth | aVit-is
in heaven || Give-us this day our daily bread || And forgive-us
our trespasses as we forgive them that trespass against us ||
And lead-us-not | into temptation \ but | deliver-us from
evil || For | Thine is the kingdom | the power and the
glory || For ever and ever. j| Amen.
15 2 PIECES ANNOTATED.
SALAMMBO'S APPEAL.
" Speak \ " said the high priest of Tanit. " What do you
wish?" "I hoped you have as much as promised-vat "
Salammbo stammered, half disconcerted; then suddenly
continued : " Why do you despise me ? What have I
neglected in the rites ? You are my teacher, and you have
said to me that no person understands better than / the
mysteries of the goddess ; but there are some which you
do not wish to tell me. Is not this true, O father ? "
Schahabarim recalled the orders of Hamilcar concerning
his daughter's education, and responded : " No \ I have
nothing more to teach you." "A spirit," she resumed,
" urges me to this adoration. I have climbed the steps of
Eschrnotin, God of the planets and intelligences ; I have
slept under the golden olive-tree of Melkarth, patron of
all Tyrian c61onies ; I have pushed open -the gates of
Baal-Khamofin, source of light and fertilisation ; I have
sacrificed to the subterranean Cabari ; to the gods of the
winds, the rivers, the woods, and of the mountains ;
but all are too far, too high, too insensible. You under-
stand ? Whereas Tanit mingles in my life, she fills my
soul and I tremble with internal darlings, as if she struggled
to escape the confines of my body. It seems to me that
I shall hear her voice, behold \\vcface. A brightness dazzles
me, then I fall-back again into the shadows."
(By permission from Sheldon s Salammbo of Flaubert.}
: & Sons, Printers, Derby ; and 23, Ola Bailey, London.
ELOCUTION, VOICE, AND GESTURE,
BY RUPERT GARRY,
CROWN 8vo., 160 pages, PRICE Is., POST FREE, Is. 2d.
pinions of tbe press.
H.M. the Queen, and H.R.H. the Prince of Wales have each
graciously accepted a copy of " Elocution, Voice, and Gesture."
" The Bishop of Rochester hastens to give MR. GARRY his best
thanks for the kind gift of his book on a most useful subject."
"A lady has, at my suggestion, got your admirable work." Rev. C.
E. Tisdalt, D.D., Chancellor of Chrislchurch Cathedral, Dublin, and
President of the Association of Elocutionists.
"MR. GARRY'S complaints of the tone of 'stilted affectation' in
which some preachers deliver sermons, and the painfully unsuccessful
efforts of others to intone, belong to a different category. They will
awaken painful reminiscences among the members of many afflicted con-
gregations." Extract from a Leaderette in " Daily News"
" There can be no doubt that Elocution is an art, and as such must
be studied, even by the most naturally gifted. Hence the value of a
good teacher, such as MR. GARRY certainly appears to be. His re-
marks on what may be called the mechanism of Elocution are sensible
and useful, as is also his chapter on the Voice. His hints on Gesture
will furnish the student with many admirable suggestions. Altogether
the work may be recommended as really a practical one." Queen,
" . . . . This cheap little treatise, stored from the first to the
last page with useful hints, apt examples and practical rules, makes
most profitable reading alike for the actor and elocutionist. The sec-
tion on the Voice is well considered and trustworthy, based as it is on
the writings of authorities on the questions of the Hygiene of the Vocal
Organs. " Stage.
" The Book contains many valuable hints in regard to Voice and
Gesture." Voice (New York).
" Coming from the pen of a well-known teacher of Elocution, it is
sure to meet with that welcome and approval which the work merits.
. . . It contains various well-written articles on the art and nature
of Elocution, with some very valuable hints on modulation and emphasis.
The book is intended not only for reciters, but for speakers and readers ;
and there is, indeed, a very useful chapter devoted to the last-mentioned.
All who aspire to dramatic art cannot do better than provide themselves
with this admirable little compendium." Dramatic Review.
" MR. RUPERT GARRY writes a brief but excellent work on ' Elocu-
tion, Voice, and Gesture.' Touching first on the charm and importance
of a correct and expressive mode of speaking, he proceeds to lay down
some clear and simple rules for attaining this desirable end. Though
everyone cannot become proficient in the art still, by practice and
careful attention to the writer's instructions, considerable improvement
may be made in the power, compass and quality of the voice and
the delivery of the words. A few us'eful voice remedies are given, of the
good effect of which MR. GARRY speaks from personal experience."
Morning Post.
"A practical treatise, full of sound advice. A very useful little
work." Literary World.
" Used as a supplement to the viva voce explanations of a good
teacher, the book will be of use. Constant practice under the super-
vision of a competent instructor is essential ; but the knowledge of the
theory contained in this book will render that practice more effectual."
Schoolmaster (London).
" It is not often that so good a manual is met with. If that curse of
modern society, the amateur reciter, must exist, the least he can do for
his victims is to go through a preliminary course of training, such as is
most lucidly laid down for him by MR. GARRY . . . The possession
and study of this volume would be greatly to the advantage of many of
our actors and orators. It includes a number of pieces, most admirably
and laboriously annotated." Court and Socidy Review.
" . . . Special attention may be directed to the chapter on
Lifeless Delivery, which is perhaps the most interesting and valuable
in the whole work." City Press.
"... A good many attempts, more or less successful, have
been made from time to time to reduce to a system the great general
principles by which the full expression may be given to poetry and prose
in reading, reciting, and public speaking. Never, however, has the sub-
ject been more practically and lucidly treated than in MR. GARRY'S
little treatise. The author is himself a successful teacher of the art of
Elocution, and in the simple rules that he lays down and elaborates, he
has, we think, embodied all the essentials of intelligent and expressive
diction. . ." School Board Chronicle.
" We commend the information given to the attention of all students
and scholars in our colleges and schools. " Irish Educational Journal.
" This work has been looked for with considerable interest, as ema-
nating from the pen of a writer of so practical an experience as MR.
GARRY. The author, with true wisdom, eschewing ' long-winded and
professedly-learned essays or lectures, which are absolutely of no
practical value, commences with a sound and able treatise on the
requisites of a good delivery and the best methods of obtaining or per-
fecting them ; the development of tone ; the rules governing articulation
and pronunciation ; and all the delicate phases of that factor of factors
in the elocutionary art expression ; this essay alone, so understandable
and yet so essentially at the root of subjects treated, is well worth a
large addition to the nominal price charged for the book
When to the items above-mentioned is added a section upon the vocal
organs, and explanatory of ' how the voice should be best produced, and
why it should be produced in a certain way," the tout ensemble seems a
very complete one. . . . The important element of gesture, as
distinct from gesticulation, is awarded a special chapter, and its intelli-
gent study is helped by copious hints
and Lecturer 's Gazette.
and sterling advice." Institute
' MR. RUPERT GARRY is the author of a treatise of Elocution, Voice,
and Gesture, in which he very clearly expounds the rules of his art and
the principles on which those rules are based, and explains, in a popular
manner, the physiology of the organs on which good voice production
depends. . . . The book exhibits in every page evidence of the
author's enthusiasm and profound study of his subject." Scottish
Leader (Edinburgh).
" MR. RUPERT GARRY'S manual is brief and well-written. It has a
gocd number of examples marked with directions for speech and gesture,
and stands out among works of the kind by the practical quality of its
suggestions. " Scotsman ( Edinburgh. )
" Although we are not too favourably disposed as a rule to written
instructions on this subject, it is impossible to refuse praise to MR.
GARRY for the pains he has bestowed upon his work. The best parts of
it are those in which he treats of ' The Voice ' and of 'Vocal Remedies."
. . . MR. GARRY'S book is a cheap one and should be popular."
Glasgcrv Herald.
" A useful little work on Elocution, Voice, and Gesture has been
written by MR. RUPERT GARRY, who is well qualified to speak on
the subject, and gives a great deal of sound and practical advice, borne
out by numerous quotations from and references to the great masters
of the art. . . . Most people might read MR. GARRY'S little book
with profit, if it only drew their attention to the value of a little
elocutionary exercise, for it is surprising how the art is neglected ;
young people who have a knowledge of continental and dead languages
being quite unab'e to recite a few lines of verse in their own language
in a manner which gives the slightest pleasure to their auditors. . . .
In common with other doctors, Sir H. Holland recommends recitation
for strengthening the vocal organs." Hants Observer.
" The book is very lucid and concise in its directions, and the
principles which govern elocution are set forth in such a manner that
they cannot fail to be ' understanded of the people.' These are
principles which all who ever read or speak in public should master, and
are entirely separate from the management of the voice and gesture.
In each section careful instructions are given." Somerset Co. Herald.
"MR. GARRY, a teacher of wide experience, here gives short,
simple, and clear explanations of the principles of Elocution. In
the section on the Voice, he teaches how the voice should be best
produced, and -why it should be produced in a certain way
The valuable advice should be carefully weighed by men who are to
appear before public, especially Clergymen." Perthshire Advertiser.
" This is a work at once useful and opportune, owing its authorship
to MR. RUPERT GARRY, who will be remembered as the professional
judge at the Annual Elocutionary Competition in 1886. The gradual
growth of this excellent art has given birth to many works, having, for
their more ostensible object, its more successful study, but too often
proving to be mere airings of the fads of their authors. MR. GARRY'S
book, however, is lucid and practical ; there is no waste of words, and,
consequently, its perusal is not an arduous and mystifying study. , ,
The author gives some valuable information as to the use and manage-
ment of the Vocal Organs a feature quite novel in this class of work."
Portsmouth Times.
" Here, within the compass of a crown 8vo. volume, young and am-
bitious members of Parliamentary Debating Societies may find a clear
and intelligible indication of the straight road to true eloquence, while
those who aspire to shine on the stage will find much to help them.
. . . His advice to amateur actors is especially good. The section
which deals with the Voice gives an explanation of the structure of the
Vocal Organs, and includes a series of remedies for curing defects of
the voice. The fact that this part of MR. GARRY'S work has been re-
vised by an able throat specialist will give it additional value. A
separate chapter is devoted to gesture ; and more than fifty pages are
occupied by annotated pieces for exercise, in which, by the free use ot
italics, accents, bars, and marginal notes, the utmost is done for the
student that can possibly be done for him on paper." Western Daily
Mercury.
" ' Elocution, Voice, and Gesture,' by MR. RUPERT GARRY, is
likely to become a regular reference book on the subject. Unlike
most of the works in existence, which are either diffuse and compli-
cated, or else so overladen with rules which are not sufficiently ex-
plained, we have here everything so clearly and concisely explained
that anyone, however ignorant of elocution before taking up the book,
will have gained a perfect apprehension of it, more particularly if he
studies carefully the annotated pieces at the end, in which the advice
previously given is practically demonstrated. The section on the
Voice is almost unique in a book on such a subject, and will prove of
invaluable assistance to all who have occasion to use their voice, and
who wish to avoid injuring it, as so many are doing at present by using
it in the wrong way." West Sussex Gazette.
Equally favourable notices have appeared in the Weekly Times,
Bookseller, Liverpool Mercury, Warwickshire Advertiser, Huddersfield
Examiner, Carlisle Express and Examiner, Leamington Spa Courier,
Salisbury and Winchester Journal, Warrington and Mid-Cheshire
Examiner, Actrington Gazette, Rotherham Advertiser, Bury Guardian,
Ashton-under-Lyne Reporter, Barrow Herald, Barnet Press, London-
derry Standard, Bristol Mercury, Newcastle Chronicle, Scarborough
Gazette, Bristol Times, Bolton Guardian, Oxford Chronicle, Bradford
Observer, Lincolnshire, Boston and Spalding Free Press, Cheltenham
Examiner, Chester Chronicle, Hants Independent, Torquay Directory
and South Devon Journal, Cork Examiner, Dumfries and Galloway
Courier, Playgoer's Magazine^ Montreal Witness, &c., &c.
Bemrose & Sous, Printers. Derby ; and 23, Old Bailey, London.
A 000 031 354