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.
 
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