I 1W H. !!! MM HI II iii w i n i m i i w norm* " I "" 'I MMmnawiWMi! rni i r iiii i iii iir i j piii i! l( H W OW H I M C LI M H IH 'iW^W wmmm tmm mn wimw jnar i i i t i r t BERKELEY LIBRARY UNIVERSITY OF CAUFORNIA SCIENCE OF ELOCUTION. BY S. S. HAMILL. TESTIMONIALS. From Andrew D. White, LL.D., President of Cornell University, lak Professor of History and English Literature, Michigan University. University op Michigan, Ann Arbor. Mr. S. S. Hamill has taught large Elocution classes in this institu- tion, and has given perfect satisfaction. His exercises for developing the voice, and inculcating its right tone, cannot, I think, be surpassed. A. D. White. From Rev. H. P. Tappan, D.D., LL.D., Chancellor of Michigan Uni- versity. It affords me much pleasure to commend Mr. S. S. Hamill to Col* leges and Schools as a teacher of Elocution. Mr. Hamill is himself an excellent elocutionist, but this would be of small account if he merely taught his pupils to imitate his own manner and tones. His worth as an instructor in this very important, but too much neg- lected, branch consists in the inculcation of correct principles of Elo- cution, and in subjecting his pupils to a proper drill of the voice. His aim is to correct bad habits of pronunciation and intonation, and to bring out the natural power and compass of the human voice. He is, besides, very faithful and diligent, and spares no pains to accom- plish his object. Mr. Hamill succeeds also in winning the esteem and respect of his pupils by his gentlemanly bearing. He has formed voluntary classes in this institution for two successive sea- sons, and has given great satisfaction. Henry P. Tappan. From Rev. D. A. Wallace, D.D., LL.D., late President of Monmouth College. Prof. Hamill : I have examined your book, and am prepared to say deliberately, that I like it exceedingly. I expected much : my expectations are more than realized. I see that you are to lead the profession in the United States. 2 Testimonials. From William Russell, Professor of Elocution, Lancaster, Mass., Author of Vocal Culture, Pulpit Elocution, etc., etc. Professor Hamill Dear Sir : Tour favor of the ninth gave me the rare pleasure of perceiving that Dr. Rush's Philosophy of the Voice, as exemplified in my manual of Orthophony (or Vocal Culture), has led an intelligent and accomplished teacher of Elocution to prose- cute for himself the analysis of vocal expression into its interesting and instructive details. The closeness of your investigations must have been a source of great pleasure, as well as conscious intellectual discipline, to yourself, and I have no doubt that it will greatly en- hance the benefit of your instructions to others. . . .Let me assure you that the ingenuity and thoroughness of your scheme gives me peculiar pleasure, from the attempt to give philosophical complete- ness to a tabular view of the phenomena of vocal expression. William Russell. From Rev. 0. N. Hartshorn, LL.D., President of Mount Union College. Feeling a deep interest in the important subject of Elocution, and being personally acquainted with Professor S. S. Hamill, a scholar and gentleman of high standing, I take the liberty to introduce him to the favorable consideration of all persons interested in this too much neglected branch of education. Mr. Hamill is the most accom- plished, thorough, and systematic teacher of Elocution that I have ever met. He has taught some five classes, composed of students and professors of Mount Union College, with satisfactory results. 1 attended three of these classes with great profit and pleasure to my- self. While Mr. Hamill has been here he has arranged a simple dia- gram, which, in my judgment, gives in one view to the eye an accu- rate and comprehensive outline of each style of utterance. I have examined it carefully, and think it highly adapted in its plan and exe- cution to illustrate, when explained by him, that most difficult and important, but too much neglected, department of education, the va. jious qualities, forms, stress, pitch, and movement of voice, to be ex emplified in the utterance of each style of sentiment. 0. N. Hartshorn. From Alexander Campbell, President of Bethany College, Va. Having recently had the pleasure of hearing the distinguished Elocutionist, Mr. S. S. Hamill, deliver himself on the science and the art of Elocution, in doing which he so scientifically and also artistic- ally exhibited the orator in utterance and in action, I cannot but V9- Testimonials. 3 ommeud him to all those youth who desire to acquire either the theory or the practice of this most interesting and useful science and art. A. Campbell. From W. K. Pendleton, President of Bethany College. To all who are interested in the attractive art of Elocution we take pleasure in tendering a very cordial introduction of Mr. Hamill. He has made Elocution his special profession, and besides his own very high tJtainments in its practice, is eminently gifted as a teacher of it to others. He has given instruction to a number of voluntary classes in Bethany College, and with the most marked success. His gentle- manly bearing, his accomplished mastery over his subject, his great fidelity and energy as a teacher, and, withal, his genuine enthusiasm in the noble art of Elocution, make Mr. Hamill a welcome instructor to all who take his lessons. His method is strictly scientific, and as a teacher he labors to point out and exemplify the principles and exercises by which excellence in oratorical utterance not only may, but must, be reached. We trust that Mr. Hamill will be encouraged and sustained in his generous efforts to elevate the tone of our Elocution, and that in his hands this much-neglected and sometimes-despised element of a polished edu- cation may be invested with new interest, and raised to a noble place in the courses of our colleges. W. K. Pendleton. From J. Baldwin, A.M., President State Normal ScJiool, Huntsville, Texas. Professor Hamill is the best teacher of Elocution in the United States. From The Christian Union {Henry Ward Beecher's paper). Prof. Hamill has given us the most valuable matter, with a better classification than we have seen. From The Methodist Quarterly Review. " The Science of Elocution," by Prof. Hamill, is without a superior to our scholars, to our ministry, and to our academic, collegiate, and theological classes. From The Christian Advocate. " The Science of Elocution," by Prof. Hamill, is the most scien- tific in its methods and complete in its instructions of any on the subject that we remember to have seen. 4 Testimonials. From S. H. Carpenter, M.D., Professor of Rhetoric and English Liter' ature, University of Wisconsin. University of "Wisconsin, Madison. Prof. S. S. Hamill Dear Sir: I have examined your "Science of Elocution" with great pleasure, and unhesitatingly pronounce it the best thing of the kind with which I am acquainted. I shall rec- ommend it to my classes. Respectfully yours, S. H. Carpenter. From S. P. Lucy, Professor of Elocution and English Literature, Oska- loosa College. Oskaloosa, Iowa. Prof. S. S. Hamill Dear Sir : Permit me to congratulate you on the production of a book on Elocution that is at once practical and scientific. It fully meets the demands of the class-room. From J. B. Peaslee, Ph.D., Supt. Public Schools, Cincinnati, Ohio. Prof. Hamill is one of the few who has reduced Elocution to a science. His teaching is thorough and systematic. From S. Estabrook, late Principal Michigan State Normal School Prof. Hamill is the most thorough, systematic, and accomplished teacher of Elocution I have ever met. His method is thoroughly scientific, his manner is easy, natural, and inspiring. From Datus C. Brooks, Prof, of English, Michigan University. We have had other teachers of Elocution in this university, but none so successful in his instructions. Regretting that we cannot retain Mr. Hamill permanently here, he has my most cordial com- mendation and warmest wishes for his success in the chosen profes- sion of his life. Datus C. Brooks. NEW SCIENCE OF ELOCUTION. THE ELEMENTS AND PRINCIPLES OF VOCAL EXPRESSION IN LESSONS, WITH EXERCISES AND SELECTIONS SYSTEMATICALLY ARRANGED FOR ACQUIRING THE ART OF READING AND SPEAKING. BY S. S. HAMILL, A.M., CHICAGO, ILL., LATE PROFESSOR OF RHETORIC, ENGLISH LITERATURE, AND ELOCUTION, ILLINOIS WESLEYAN UNIVERSITY, BLOOMINGTON, ILL., STATE UNIVERSITY, COLUMBIA, MO. NEW YORK: EATON & MAINS CINCINNATI : JENNINGS & PYE IOAN 3TACK Copyright, 1886, by PHILLIPS & HUNT, Nbw York. H?5 PRE FACE In the belief that Elocution should be studied as a science as well as practiced as an art, the following pages are presented to the public. That Elocution is a science, that there are certain established principles observed by all good speakers and violated by all bad ones, none will deny who have carefully investigated the subject. To understand and to practically illustrate these principles should be the prominent object of the student of Elocution. The design of the work is to unfold the principles of Elocution, to show their application to the different forms of thought and emotion, to classify selections under their appropriate styles, and, in connection there- with, to furnish sufficient exercises for the cultivation of the articulation, the tones of the voice, and the graces of manner. Without this all cultivation of the voice and manner will be of little avail. Instances are numerous of stu- dents who have carefully and diligently practiced the exercises for the cultivation of the voice and manner, so abundant in the various works on Elocution, and derived therefrom all the advantages they propose, and yet good readers and speakers are rare. 889 8 Preface. A radical defect exists somewhere, or, contrary to all experience and testimony, the ability to read and speak well is not an acquirement. An experience of nearly twenty years as a teacher in this department has con- vinced the author that the study of Elocution usually ceases where it really should begin, namely, with the adaptation of the tones of the voice and the expression of countenance to the sentiment uttered. To correct in some degree this defect, and to awaken a deeper interest in the subject of Elocution, is the hope of the author in the present publication. When Elocution shall be studied in our colleges and universities as a science, its principles known and prac- ticed, then, and not till then, will good speaking be the rule, and not, as now, the rare exception. S. S. H. Chicago, III. PREFACE TO THE REVISED EDITION. In revising the Science of Elocution the author de- sires to express his sincere thanks to the literary and professional men and women, and to the schools and colleges throughout the country for their generous and complimentary indorsement and adoption of the work, and to hope that the revised edition may be no less acceptable. The original design of the work, which was to pre- sent the elements and principles of vocal expression in a plain, simple, scientific manner, is still retained. The changes are chiefly in the arrangement of the exercises, the addition of questions and diagrams, and the substitution of new and better selections. The pres- ent plan is to present the explanations, exercises, ele- ments, principles, and the selections for their illustra- tion in systematic lessons, and thus better adapt the work to the wants of the class-room. Instead of pre- senting with each element brief examples to illustrate all the styles of thought and feeling in which the ele- ment may be employed, only one illustration will be given, the others being presented when new elements are introduced. By this arrangement frequent repeti- 10 Peeface to the Eevised Edition. tions will be avoided, and yet all the styles of thought and feeling illustrated. No attempt has been made to give instruction in action, further than the exercises in position and movement. Indeed, it is questionable whether grace and propriety of gesture and attitude can be success- fully taught by printed instructions either in words or wood-cuts and dotted lines. Certain it is that the accomplishments of action can be best acquired from the living teacher and the careful study of works of art and natural illustrations. The suggestions in the lessons on gesture and atti- tude are on the supposition that the teacher is compe- tent to give such instruction orally and by illustration. Chicago, III. CONTENTS PAGE Preface 7 Preface to Revised Edition 9 Introduction 19 Questions 23 Diagram of the Essential Elements of Vocal Expression. . . 24 Diagram of the Accidents of Vocal Expression 25 Elementary Sounds 26 Exercises in Position, Respiration, Articulation, Breathing, and Gesture will be found in connection with each lesson. LESSON I Position, Respiration, Articulation 28-31 Forms of Voice 32 Effusive Form 33 LESSON II Expulsive Form 39 LESSON III Explosive Form 44 LESSON IV Qualities of Voice 49 Pure Tone 51 Pure Tone, Effusive Form 53 LESSON V Pure Tone, Expulsive Form 57 LESSON VI Pure Tone, Explosive Form 61 LESSON VII... Orotund 63 Orotund, Effusive Form 65 LESSON VIII. . . Orotund, Expulsive Form 69 LESSON IX Orotund, Explosive 74 LESSON X Oral 77 Oral, Effusive Form 78 12 Contents. PAfiE LESSON XI Oral, Expulsive 82 LESSON XII Aspirate 85 Aspirate, Effusive 86 LESSON XIII Aspirate, Expulsive 89 LESSON XIV Aspirate, Explosive 91 LESSON XV Pectoral 96 Pectoral, Effusive 97 LESSON XVI Pectoral, Expulsive 101 LESSON XVII Pectoral, Explosive 104, 105 LESSON XVIII.... Guttural 108 Guttural, Effusive 109 LESSON XIX Guttural, Expulsive Ill LESSON XX Guttural, Explosive 115 LESSON XXI Falsetto 118 Falsetto, Effusive Form 118 LESSON XXII Falsetto, Expulsive 120 LESSON XXIII. . . . Falsetto, Explosive 124 LESSON XXIV.... Nasal 127 Nasal, Expulsive 128 LESSON XXV Force of Voice 135, 136 Subdued Force 137 LESSON XXVI. . . . Moderate Force 142 LESSON XXVII. . . Energetic Force 148, 149 LESSON XXVIII. . Impassioned Force 155 LESSON XXIX.. . . Stress of Voice 162 Median Stress 163 IESSON XXX Radical Stress < 266 LESSON XXXI.... Final Stress 174, 175 LESSON XXXII. . . Compound Stress 179 LESSON XXXIII . . Thorough Stress 185 LESSON XXXIV . . Intermittent Stress 190 LESSON XXXV . . . Pitch of Voice 195 Contents 13 PAGE LESSON XXXV. . . Middle Pitch 198 LESSON XXXVI. . Low Pitch 201 LESSON XXXVII. . High Pitch 205 LESSON XXXVIII. Very Low Pitch 208 LESSON XXXIX . . Very High Pitch 212 LESSON XL Movement of Voice 215 Moderate Movement 216 LESSON XLI Slow Movement 220 LESSON XLII Rapid Movement 224 LESSON XLIII Very Slow Movement 227 LESSON XLIV Very Rapid Movement 229-233 Conclusions from the Previous Lessons. 236 LESSON XLV Grouping 238 LESSON XL VI Accidents of Vocal Expression 248 Quantity 248 Long Quantity 249 LESSON XLVII . . . Short Quantity 250 LESSON XLVIII . . Inflections 254 Rising Inflection 254 LESSON XLIX Falling Inflection 258 LESSON L Circumflex 264 LESSON LI Cadence 267 LESSON LH Emphasis 270 Emphasis of Force 270 Emphasis of Stress 271 Emphasis of Quality 271 Emphasis of Pitch 272 Emphasis of Movement 272 LESSON LIII Pauses 278 LESSON LIV Climax 281 LESSON LV Action 282 Positions of Hands 283 14 Contents. PASS LESSON LV. . . Position and Movement of Arms 285 Qualities of Gesture 286 Accompaniments of Gesture 28V Significance of Gesture 281 The Eye 289 LESSON LVI. . EMOTIONS AND PASSIONS 290 Tranquillity 291 Cheerfulness 291 Mirth 292 Joy 293 Pity 294 Hope 294 Hatred, Aversion 295 Anger, Rage, Fury 296 Revenge 297 Reproach 298 Fear and Terror 209 Sorrow 300 Sneer 301 Surprise, Wonder, Amazement, Astonish- ment 302 Vexation 303 Shame : 303 Gravity 304 Commanding 304 Contents. 15 SELECTION S. PAGB Abou Ben-Adhem. Leigh Hunt 316 An Idyl of the Period. G. A. Baker 256 An Order for a Picture. Alice Gary 218 Appeal in Behalf of Ireland. S. S. Prentiss 145 Apostrophe to the Ocean. Lord Byron 249 Bald-Headed Man, The 879 Baron's Last Banquet, The A. G. Greene 112 Bells, The. Edgar A. Poe 328 Bells, The. (First stanza.) Edgar A. Poe 61 Bells, The. (Third stanza.) Edgar A. Poe 75 Bernardo Del Carpio. Mrs. Remans 335 Blacksmith's Story, The. Frank Olive 354 Bobolink, The. Aldine 349 Break ! Break ! Break ! Tennyson 165 Bugle Song. Alfred Tennyson 119 Burial of Arnold, The. N. P. Willis 139 Catiline's Defiance. Croly 106 Cato's Soliloquy. Joseph Addison 231 Charcoal Man, The. J. T. Trowbridge 121 Charge of the Light Brigade, The. Tennyson 314 Charlie Machree. William J. Hoppin 331 Cheerfulness 198 Clarence's Dream. Shakespeare 102 Closing Year, The. Prentice 150 Count Candespina's Standard. George H. Boker 332 Creeds of the Bells. George W. Bungay 323 Curfew must not Ring To-Night Rosa A. Hartwick 317 16 Contents. PAGB Darius Green and his Flying-Machine J. T. Trowbridge 128 Darkness. Byron 98 Dead Doll, The. Margaret Vandegrift 380 Death-Bed, The. Thomas Hood 138 Death op Alexander Hamilton. Dr. Nott 311 Death of Little Jim, The 79 Duty op Literary Men to their Country. Grimke 306 Evening at the Farm. /. T. Trowbridge 343 God. Derzhavin 65 God the True Source op Consolation. Thomas Moore 147 God's First Temples. W. C. Bryant 223 Gone Before. B. F. Taylor 316 Green Mountain Justice, The 124 Hamlet. Act III. Scene IV .Shakespeare 181 Hamlet's Advice to the Players. Shakespeare 58 Hamlet's Soliloquy. Shakespeare 280 Hate op the Bowl 177 How the Old Horse Won the Bet. Oliver Wendell Holmes. . 371 I'm With You Once Again. G. P. Morris 206 Industry and Eloquence. Wirt 41 In Memoriam A. Lincoln. Mrs. Emily J. Bugbee 202 Isle op Long Ago, The. B. F. Taylor 35 John Burns op Gettysburg. F. Bret Harte 320 Lady Clare. Alfred Tennyson ... 261 Lasca. F. Desprez . . 363 Launching of the Ship, The. H. W. Longfellow 187 Life-Boat, The. Anon 214 Macbeth. (Extract from dagger scene.) Shakespeare 109 Macbeth. Scene II. Act II. Shakespeare 93 Marco Bozzaris. Fitz Greene Halleck 209 Contents. 17 PAGE Marmion and Douglas. Sir Walter Scott 251 Maud Mdller. J. G. Whiitier . , 244 Mazeppa. Byron 234 Merchant op Venice. (Brief extract.) Shakespeare 110 Merchant of Venice. Scene I. Act III. Shakespeare 359 Mercutio's Description of Queen Mab. Shakespeare 2*79 Military Command. Anon 90 Modulation. Lloyd. 144 Mr. Pickwick's Proposal to Mrs. Bardell. Dickens 347 Napoleon Bonaparte. Phillips 307 Nearer Home. Phebe Gary 54 Night. Shelley 291 No Sects in Heaven. Mrs. E. H. J. Cleaveland 366 On the Shores of Tennessee. Ethel L. Beers 192 Our Folks. Ethel Lynn 361 Over the River. Miss Priest 268 Painter of Seville, The. Szcsan Wilson 2*73 Parting Words. Mrs. Hemans 87 Pictures of Memory. Alice Cary 351 Pitt's Reply to Walpole 265 Polish Boy, The. Mrs. Ann S. Stephens 157 Poor Little Joe. Peleg Arkwright 369 Pyramus and Thisbe. John G. Saxe 344 Raven, The. Edgar A. Poe 338 Responsibilities of our Republic. Joseph Story 153 Ride of Jennie McNeal, The Will Carleton 169 Rienzi's Address to the Romans. Mm Mitford. 310 Rising of 1776, The. T. Buchanan Read 70 Robert of Lincoln. W. C. Bryant 376 2 18 Contents. Sandalphon. H. W. Longfellow 362 Seminole's Defiance, The. G. W. Patten 116 Sheridan's Ride. T. Buchanan Read 312 Spring. Bryant 153 Tell's Address to the Alps. J. IS. Knowles , 156 Toussaint L'Ouverture. Wendell Phillips 357 Two Boot-Blacks, The 235 Vagabonds, The. Trowbridge 325 Voice op Spring. Mrs. Hemans 46 Wounded. William E. Miller 82 Young Lochinvar. Scott ... 228 SCIENCE OF ELOCUTION. INTKODUCTION. ELOCUTION. Definition. ^Elocution is the expression of thought and feeling by- voice and action. Ylt is not, as many erroneously think, an accomplishment 1 valuable only in professional life; but a divine gift, a natural endowment, invaluable in every position and condition of life, and susceptible of the highest cultivation. Excellence in expression is as desirable in the family circle as in the pulpit; as pleasing and impressive in the social circle as on the platform; as profitable in business life as on the stage. No organ of the human body is susceptible of so great or so rapid cultivation as the voice. By proper train- ing for a few weeks or months harsh and hard tones may be changed to sweet and silvery ones. Science and Art. Elocution is both a science and an art./ As a science, it investigates, classifies, and applies the elements and principles, of expression ; as an art, it gives practical illustration to these elements and principles. As a science, it teaches us to know; as an art, to do. 20 Science of Elocution. Province op the Science. The science of Elocution deduces the principles of expression from natural sounds animate and inani- mate. It observes in the joyous songs of birds explo- sive form, pure tone, high pitch, and rapid movement. It perceives in the low, angry growl of the wild ani- mal the pectoral quality ; in the mutter of the blood- thirsty savage the guttural tone ; in the moaning of the winds the aspirate ; in the roar of the ocean the orotund ; in the tranquil murmur of the stream the pure, clear tone. It classifies these principles, adapts them to the com- prehension of man, and thus establishes a system true in theory and natural in practice; a system based not on human rules, but on divine laws. Vlt discovers in every vocal utterance six essential elements: Form, Quality, Force, Stress, Pitch, and Movement ;Vthat by no possibility can there be a continuous vocal utterance in which these elements will not exist in some combination; that they are as essential to vocal expression as are the notes to the tune, the parts of speech to the sentence, the processes addition, sub- traction, multiplication, and division to the solution of problems ; that all other properties of expression, as quantity, inflection, emphasis, cadence, grouping, and even distinct articulation, are simply different combina- tions of these essential elements; that utterance does not depend upon them, but may exist without them ; hence they may be termed simply accidents or ac- complishments of expression. Science perceives that excellence in vocal utterance, whether in conversa- tion, reading, speaking, or recitation, depends on the perfect illustration and correct combination of these Introduction. 21 elements, and that the defects are found in an improp- er use of one or more of them. It determines the combination appropriate for the expression of the dif- ferent styles of thought and feeling, classifies these combinations, and thus renders the art of Elocution as simple and easy as the art of music, mathematics, or language. Province of the Art. The Art of Elocution cultivates the voice, perfects the articulation, improves the respiration, gives ease and grace to position and movement propriety and power to gesture and attitude. It teaches the practi- cal illustration of the elements and their innumerable combinations. It applies these in the expression of the different styles of thought and feeling, thus em- bodying in delivery every accomplishment both of voice and action. Advantages. The proper study of Elocution will make the family circle more agreeable, the social circle more desirable, the business man more successful, the teacher more instructive, and the professional man more impressive. Is it so desirable that our musical instruments upon which we occasionally play be sweet-toned and in per- fect tune, and of no importance that our own voices and our children's voices be clear and sweet and musi- cal and pure ? Are easy, graceful positions and at- titudes so important in pictures and statues and not desirable in ourselves? Pleasant tones of voice and agreeable manners gain friends, win confidence, secure customers, inspire pupils, and delight audiences. They are desirable and profitable every-where. It would be difficult to name a subject taught in school or college 22 Science of Elocution. that affords a culture so broad, so thorough, so practi- cal as the study of Elocution. It most happily com- bines the cultivation of the physical, the mental, and the moral powers. Physical Culture. The exercises in respiration, articulation, and vocal- ization strengthen the lungs, expand the chest, devel- op the muscles of the throat and neck, protecting them against cold and bronchial affections, call into action the abdominal, dorsal, and intercostal muscles, and thus promote digestion and, in fact, invigorate all the physical powers ; they cultivate sweetness, purity, power, and flexibility of voice. The exercises in action give ease and grace to position and movement. If, for its physical culture alone, Elocution were introduced into all our schools and colleges, it would more than compensate for all the expenditure of time and money. But its physical advantages are the least important. It furnishes no ordinary Mental Culture. To express thought and feeling appropriately and im- pressively they must be clearly comprehended. But the comprehension of the thought is not sufficient. The science of Elocution must be mastered a science exact, abstruse, exhaustless. The elements and principles of this science must be perfectly familiar to the mind. The adaptation of the elements and the application of the principles in the expression of the different styles of thought and feeling cultivate the taste and judg- ment. To recite a selection, or present a scene impress- ively, it must be memorized. This strengthens the memory, that faculty so greatly neglected in our mod- ern methods of education. Each character presented Introduction. 23 must be clearly conceived, must have an ideal existence. This exercises the imagination. In the combination of the elements, the conception of the characters, and the arrangement of the scenes, there must be a constant effort to produce those effects most pleasing both to eye and ear. This cultivates the aesthetic taste and develops the originating faculties. But the study of Elocution stops not with the cul- tivation of the physical and mental faculties ; it develops The Moral Powers. It brings us into intimate communion with the noblest thoughts of the wisest men of all ages. It makes us familiar with the sublimity of Shakespeare, the grandeur of Milton, the imagination of Scott, the pathos of Dickens, the purity of Longfellow, and the inspiration of the Bible. It cannot be but that the study and recitation of such writings will ennoble the moral nature. Questions. 1. What is Elocution ? 2. Where used ? 3. What is the province of the Science of Elocution ? 4. How do we ascertain the elements and principles of expression? 5. How many essential elements of expression are there ? 6. What is an essential element ? 1. How many of the essential elements are found in every utter- ance? 8. What is an accident of expression? 9. What constitutes excellence in expression ? 10. Where are the defects found ? 11. How do we determine the combinations appropriate for the ex- pression of the different styles of thought and feeling ? 12. Define the province of the art of Elocution. 13. Mention some of the physical advantages of Elocution. 14. Some of the mental. 15. Some of the moral. 24 Science of Elocution. DIAGRAM ESSENTIAL ELEMENTS OF VOCAL EXPRESSION ' Radical. Median. " Effusive. Final. FORMS.. Expulsive. Explosive. STRESS.... Compound. Thorough. Intermittent. Pure Tone. Orotund. Very High. Oral. High. Aspirate. QUALITIES. Pectoral. Guttural. Falsetto. Nasal. PITCH Middle. Low. , Very Low. Very Rapid Subdued. Rapid. Moderate. FORCE.. Energetic. . Impassioned. MOVEMENT. Moderate. Slow. Very Slow. Accidents of Vocal Expression. 25 DIAGRAM ACCIDENTS OF VOCAL EXPRESSION Vocal. ARTICULATION. { Sub- Vocal. EMPHASIS. [ Aspirates. Quality. Force. Stress. Pitch. QUANTITY. | Long. 1 Short. f Ascending. CLIMAX ... J [ Descending. f Rising. A1Icr o f Grammatlcal - INFLECTIONS.. PAUSES... [ Falling. I Oratorical. WAVES. CADENCE. f Upward. Downward. r Complete. 1 Partial. GROUPING f Form. Quality. Force. Stress. Pitch. Movement. 26 Science of Elocution. Elementary Sounds. An elementary sound is a sound produced by a single impulse of the organs of speech. Phonologists generally agree that there are forty- four elementary sounds in the English language. These sounds are represented by letters and charac- ters. The sounds are divided into vocals, sub-vocals, and aspirates ; the letters into vowels and consonants. Chart op the Elementary Sounds. Long Vocals. 1. e, as in me, eve. 2. e, u serge, verge, 3. a, a aim, ale. 4. a, (S air, care. 5. a, a arm, farm. 6. 6, u or, for. 7. o, tt oak, no. 8. Q, a ooze, do. Short Vocals. 9. i, as in ill, it. 10. e, tt ell, let. 11. o, a odd, not. 12. u, a up, sup. 13. a, a add, sad. 14. a, (i ask, task. 15. u, u full, pull. Diphthongs. 16. I, as in ice, lie. 17. oi, tt oil, boil. 18. % tt mute, tube. 19. ou tt out, sound. Vocal Elements. 27 Sub- Vocals. Correlatives. 20. b, as in boy, ebb. 21. a, a did, rod. 22. g> a go, rag. 23. g> ( gem, judge. 24. v, a veer, valve. 25. th, (( this, breathe. 26. z, a zone, zeal. 27. zh. a azure, seizure* Sub-Vocals. Liquids. 28. 1, as i in lo, will. 29. r, a row, roar. 30. m, " moon, home. 31. n, " no, moon. 32. ng, " sing, ring. Sub- Vocals. Coalescents. 33. w, as in we, wit. 34. y, " yet, you. Aspirates. Explodents. 35. p, as in pin, pipe. 36. t, " till, spot. 3V. k, " kick, neck. 38. ch, " church, which. Aspirates. Continuants. 39. f, as in file, stiff. 40. th, " think, breath. 41. s, " see, pass. 42. sh, " shine, wish. 43. h, " he, hat. 44. wh, " whence, what. 28 Science of Elocution. LESSON I. POSITION. In beginning a course of lessons in Elocution the at- tention of the student should first be directed to the subject of position. It is the position of the body that first attracts attention. If it be easy and natural, the impression will be favorable ; if stiff and awkward, it will be unfavorable. Again, an easy position promotes freedom of thought and smoothness of expression, while a restrained manner hinders speech and embar- rasses utterance. Positions of the Head, Body, Hands, and Feet. Stand with the head and body erect, the chest fully expanded, the shoulders well thrown back not rigid and formal, but easy and natural. Let the arms hang easily by the side, or, if there be a table or desk near, let one hand rest gently upon it. If a book or manu- script is used, hold it in the left hand, the thumb and fourth finger in front, the other three fingers back. Positions of the Feet. First Position. Place the feet so that they will form an angle of nearly ninety degrees, the right a lit- tle in advance, and about three or four inches from the left, the weight of the body resting principally on the left, the center of the heel of the right foot opposite the center of the hollow of the left. Second Position. The second position is just the converse of the first the weight of the body rests upon the right foot, the left a little in advance and Position. 29 about three or four inches from the right, the feet forming an angle of nearly ninety degrees. Third Position. In the third position the right foot is about six or eight inches obliquely to the right, in advance of the left, and supports the weight of the body ; the toe or ball of the left foot gently rests on the floor, and balances the body, the heel being raised about an inch. The feet in this position should also form a right angle. Fourth Position. In the fourth position the weight of the body rests upon the left foot, which is about six or eight inches obliquely to the left, in advance of the right, the toe or ball of the right gently resting on the floor, the heel raised about an inch, the feet forming a right angle. Exercises in Position. Class rise and take the first position. 1. Change from the first to the second position by placing the right foot back of the left, and turning the left out a little. 2. Change from second to first position by placing the left foot back of the right, and turning the toe of the right out a little. 3. Change from first to third position by stepping forward about six or eight inches with the right foot, inclining the body a little forward, and balancing it with the toe or ball of the left foot the heel of the left raised about an inch from the floor and inclined in toward the heel of the right. 4. Change from the third to the first position by bringing up the left foot to within about three inches of the right, and allowing the weight of the body to rest upon the left. 30 Science of Elocution. Repeat these changes several times, until the class is perfectly familiar with them. Class may sit. RESPIRATION. The next exercise to which attention should be di- rected is breathing. Excellence in expression is largely dependent upon appropriate respiration. Without a sufficient supply of breath the vocal organs cannot per- form their functions properly. In ordinary tranquil breathing the process is involuntary and unconscious ; but when strength and force of voice are required, the vocal chords must be swept with a greater volume of air, and art must be called in to the assistance of nature. To inhale skillfully and exhale properly, to keep the lungs constantly supplied with breath so that they can furnish to the larynx instantly the requisite supply of air, constitutes the art of breathing, and can be acquired only by practice. Incorrect breathing not only affects the vocal utterance, but produces bronchial trouble and pulmonary diseases. The process of respiration includes both inhalation and expiration. In the act of inhaling great care should be taken to fill the lungs quickly and quietly, and at such times as will least inconvenience yourself and least attract the attention of an audience. Always inhale before beginning a sentence or phrase, before every animated or impassioned expression, before and after every emphatic word, and at all pauses. In exhaling give out the breath as economically as possible, using no more than is necessary to produce the required tone. Articulation. 31 Exercises in Respiration. Class rise. While the teacher slowly elevates his hand the class should inhale quietly, filling the lungs to their utmost capacity. As the teacher lowers his hand exhale slowly and quietly. Repeat this exercise sev- eral times. Class may then sit. ARTICULATION. Distinctness of articulation, though not essential to expression, is an invaluable accomplishment. It en- ables the speaker to express his thoughts without weariness, and the audience to hear without effort. Every effort to understand the word detracts from the thought. In large assemblies and in the open air dis- tinctness of articulation is indispensable. Loudness is not distinctness. Strong emotion and passion, if not expressed with distinctness, degenerates into rant and vociferation. To perfect the articulation, practice the elementary sounds first separately, then in combination. In these exercises attention should be given to the position of the body, the breathing, and particularly to the positions and action of the organs of articulation. Exercises in Articulation. First pronounce the word distinctly, and then give each sound separately. e, as in me. he, the, meed, heed, breathe, these, 32 Science of Elocution. 1. I mean what I say. 2. I believe it every word. 3. Be not overcome by evil. 4. Seems, madam ! nay, it is. 5. Tell them we need no change. This exercise should not occupy more than two or three minutes, and all the previous explanation and exercises should be given in less than ten minutes. FORMS OF VOICE. Before beginning the discussion of the Essential Ele- ments, it will be well to direct the attention of the pupil again to certain axiomatic propositions on which these lessons are based : First. In every vocal utterance there are six essential elements. Second. Excellence in vocal expression depends on the perfect illustration and correct combination of these elements. Third. The defects in vocal utterance are produced by an imperfect illustration or incorrect combination of one or more of these elements. If these propositions be true, it follows that a practi- cal and theoretical knowledge of the essential elements will make good readers and speakers. The primary object of these lessons is to explain, il- lustrate, and apply the elements and principles of vocal expression. All other exercises and explanations are simply auxiliary. y\ Form is the manner in which the sound is sent forth from the vocal organs. It is to sound what shape is to matter. There are but three forms of Voice; there Effusive Form. 33 are really but three forms of sound, effusive, expulsive, and explosive. K.. Every sound, whether produced by the human voice, the voice of bird or beast, by inanimate nature, or me- chanical means, must be in one of these forms. * EfTuivc Form. The Effusive is that form of Voice in which the sound is sent forth gently from the vocal organs without abruptness either in beginning or ending. The breath is not sent forth by a forcible effort, but is gently effused into the surrounding air. Advantages of Effusive Form. The Effusive Form gives a smoothness to the tone and a mildness to utterance which, in the expression of pathos and solemnity, reverence and devotion, produces one of the most pleasing effects in delivery, calling out at once all the purer and nobler feelings, and fitting the mind for higher and holier contemplations. The absence of this element in the utterance of the sublime passages in prayer and praise gives a harshness to the expression. In the milder forms of awe and horror the effusive gives intensity to the utterance. Owing to our defective methods of elocutionary instruction ths Effusive Form is rarely heard. To acquire this form of voice practice the elementary sounds and words in the following manner : First inflate the lungs fully, and then exhale the wreath gently in a prolonged clear tone, being careful to expend no more breath than is necessary to produce the tone. 3 34 Science of Elocution. Exercises in Effusive Form. 1. e, as heard in me. 2. a, u " ale. 3. a, a " arm. 4. a, u " all. 5. 6, a " old. 6. 56 it u ooze. Repeat each of these sounds several times. Practice the following words in the same manner, only less pro- longed : calm, balm, vow, bowl, amuse, refuse, awful, beauty. Principle of Expression, or when the Effusive Form should be used. v The Effusive is the appropriate Form of voice for the expression of tranquillity, solemnity, sublimity, pathos, grandeur, reverence, adoration, devotion, awe, and amaze- ment of a quiet and tranquil character. \ That the Effusive Form should be so employed is not an empyrical rule, by following which excellence in expression may be acquired, but a divine principle which must be observed by all who excel in reading and speaking, whether they are conscious of it or not. This principle is clearly illustrated wherever God, in nature, expresses by animate sounds or awakens in us by inanimate sounds these thoughts and feelings. The dove, lamenting the loss of its mate, always ex- presses its sadness in the Effusive Form. The wind as it moans around the building, awakening in us sad and gloomy thoughts and feelings, always illustrate the Effusive Form. t 35 Effusive Form. The roar of the ocean, awakening grand and sublime thoughts and feelings, is Effusive in Form. Suggestions to Teachers. In instructing classes it would be well for the teacher to read one line, not for imitation, but to illus- trate the Effusive Form, and then have the class repeat it in concert. After reading one stanza in this manner let the class be seated, and then call upon two or three pupils successively to read the entire stanza. When two or three have read, then read a second stanza in concert, and again call on two or three individually, and so on until the entire selection is read. Both teacher and pupils should bear in mind that the prominent object in this lesson is to cultivate the Effusive Form. EXAMPLE: BATHOS. Effusive Form. X The Isle of Long Ago. B. F. TAYLOB. 1. O a wonderful stream is the river Time, As it runs through the realm of tears, With a faultless rhythm and a musical rhyme, And a boundless sweep and a surge sublime,,/ As it blends with the Ocean of Years. How the winters are drifting like flakes of snow, And the summers like buds between, ^ And the year in the sheaf, so they come and they go, On the river's breast, with its ebb and flow,/ As it glides in the shadow and sheen. There's a magical isle up the river Time, Where the softest of airs are playing ; There's a cloudless sky and a tropical clime, And a song as sweet as a vesper chime, And the Junes with the roses are straying. 36 Science jf Elocution. 4. And the name of that Islets the Long Ago, And we bury our treasures there ; There are brows of beauty and bosoms of snow ; There are heaps of dust but we loved them so ! There are trinkets and tresses of hair; There are fragments of song that nobody sings ; , And a part of an infant's prayer ; There's a lute unswept, and a harp without strings ; There are broken vows and pieces of rings, And the garments she used to wear. 6. There are hands that are waved when the fairy shore By the mirage is lifted in air, . And we sometimes hear through the turbulent roar Sweet voices we heard in the days gone before,V When the wind down the river is fair. O remembered for aye be the blessed Isle, All the day of our life until night ; \ When the evening comes with its beautiful smile, And our eyes are closing to slumber awhile, ^ May that " Greenwood " of Soul be in sight ! \ Questions. 1. What is the first exercise to winch the attention of the pupil is called ? 2. Why? 3. Describe the position of the head, body, and arms. 4. How many positions of the feet are given ? 5. Describe and illustrate each. 6. What was the second exercise in this lesson ? 7. What are the advantages of exercises in Respiration? 8. How should the lungs be filled ? 9. When should we inhale so as least to attract attention or inter- rupt the utterance ? 10. What was the third exercise ? Effusive Form. 87 11. Is articulation essential to expression? J 2. What are the advantages of a distinct articulation ? 13. What essential element is presented in this lesson ? 14. Upon what propositions are these lessons based ? Repeat them. 15. If these propositions are true what conclusion follows? 16. What is the primary object of these lessons? 1 7. Define Form of Voice. 18. How many Forms are there? 19. Define Effusive Form. 20. Illustrate it. 21. What are the advantages of Effusive Form ? 22. When should the Effusive Form be used? 23. How do we ascertain when the Effusive Form should be used ? 24. What is a principle of expression ? 26. Where iu nature do we find the principle in this lesson illus- trated? 26. Why should the selection in this lesson be giveu in the Effii' sive Form ? DIAGRAM OF FIRST LESSON. {Position. Breathing. Phonics. ' Definition. 2. Element Form. fEffusive. Division { Expulsive. ^ Explosive Illustration C Definition. Illustration. Advantages. 3. Topic Effusive Form. < How Acquired. Class Exercises. Principle of Expression [ Examples. 4. Selection for Practice. " Isle of Long Ago." 38 Science of Elocution. LESSON II. Exercises in Position. Take first position. 1. Change from first to second by placing the right foot back of the left and turning out the toe of left slightly. 2. Pass from second to fourth position by step- ping forward six or eight inches with the left foot and balancing the body with the toe or ball of the right. 3. Bring the right foot up to second position. 4. Change to third position. 5. Change to first position. Repeat the changes several times. Exercises in Respiration. Inhale slowly and exhale rapidly. Repeat several times. Exercises in Articulation. e, as in earth, earth, ermine, verge, mirth, prefer, serge. 1. I am in earnest. 2. I prefer not to do it. 3. Crown him with myrtle. 4. He is on the verge of ruin. 5. The unsullied sanctity of your ermine. Review Effusive Form theoretically and practically. X Expulsive Form. 39 Expulsive Form. The Expulsive is that form of voice in which the sound is sent forth from the organs in an abrupt and forcible manner. To produce the Expulsive Form the breath must be forced from the lungs to the larynx V by a vigorous inward and upward action of the abdo- minal muscles and diaphragm. The larynx is the instrument of sound, the lungs the reservoir of air, and the abdominal muscles and dia- phragm the power for propelling the air. It is the inward and upward action of the abdominal muscles that compresses the lungs, and thus keeps the larynx furnished with a sufficient supply of air. Many cases of speaker's sore throat are caused by an inefficient action of the abdomen. Advantages. No exercise is more beneficial for strengthening and developing the voice than practice on this form. It is the Expulsive that gives life, energy, and spirit to all forcible speaking. The speaker who fails in regard to the effect of this property of utterance solicits our pity rather than commands our respect. Divested of this form of voice, the manly and powerful eloquence of Demosthenes, Webster, Chatham, and Clay would become ridiculous and contemptible. In practicing this exercise always stand or sit erect, keep the chest well expanded, and be very careful to maintain a vigorous inward and upward action of the abdominal muscles and diaphragm. Repeat the following sounds, words, and sentences in a full, clear, expulsive form : 40 Science of Elocution. Exercises in Expulsive Form. 1. e, as heard in me. 2. S, " " end. 3. a, " " add. 4. 5, " " odd. 5. I, " ill. 6. u, " " up. on, orb, air, end, up, down, sink, live. add, old, bold, bond, speak, fate, demand, defy. 1. Firm in his faith he stands. 2. He has reached the zenith of his glory. 3. Through the thronged crowd he forced his way. exercises. Contrasting Effusive and Expulsive Forms. Repeat each of the above sounds, words, and sen- tences first with Effusive, then with Expulsive, Form. Expulsive Form When Used. It is a principle of expression that the Expulsive Form should always be used in the expression of nar- / r alive, descriptive, didactic, animated, argumentative, and impassioned poetic thought,^ expressed in scientific and literary lectures, doctrinal and practical sermons, senatorial and political speeches, and formal orations. This principle is illustrated in the direct, earnest utter- ances of children, the forcible speech of the savage, the bark of the dog, the lowing of cattle, the bleating of sheep, neighing of horses, the broken sound of the cas- cade, and the deep roar of the thunder, all of which ex- Expulsive Form. 41 press thought or feeling more or less didactic, narrative, or impassioned. EXAMPLE: DIDACTIC THOUGHT. Expulsive Form. x Industry and Eloquence. WIRT. 1. In the ancient republics of Greece and Rome oratory was a necessary branch of a finished education. A much smaller proportion of the citizens were educated than among us, but of these a much larger number became orators. No man could hope for distinction or influence and yet slight this art. The commanders of their armies were orators as well as sol- diers, and ruled as well by their rhetorical as by their military skill. There was no trusting with them, as with us, to a nat- ural facility or the acquisition of an accidental fluency by occasional practice. 2. They served an apprenticeship to the art. They passed through a regular course of instruction in schools ; they sub- mitted to a long and laborious discipline ; they exercised themselves frequently, both before equals and in the presence of teachers, who criticised, reproved, rebuked, excited emula- tion, and left nothing undone which art and perseverance could accomplish. 3. The greatest orators of antiquity, so far from being fa- vored by natural tendencies, except indeed in their high intel- lectual endowments, had to struggle against natural obstacles, and, instead of growing up spontaneously to their own unri- valed eminence, they forced themselves forward by the most discouraging artificial process. 4. Demosthenes combated an impediment in speech and an ungainliness of gesture which at first drove him from the forum in disgrace. Cicero failed at first through weakness of lungs and an excessive vehemence of manner which wearied the hearers and defeated his own purpose. These defects were conquered by study and discipline. He exiled himself from home, and during his absence in various lands passed not a day without a rhetorical exercise, seeking the masters who 42 Science of Elocution. were most severe in criticism as the means of leading him to the perfection at which he aimed. 5. Such, too, was the education of their other great men. They were all, according to their ability and station, orators ; orators, not by nature or accident, but by education, formed in strict process of rhetorical training. 6. The inference to be drawn from these observations is, that if so many of those who received an accomplished education became accomplished orators, because to become so was one purpose of their study, then it is in the power of a much larger proportion among us to form ourselves into creditable and accurate speakers. The inference should not be denied until proved false by experiment. 7. Let this art be made an object of attention ; let young men train themselves to it faithfully and long, and if any of competent talents and tolerable science be found at last inca- pable of expressing themselves in continued and connected dis- course, so as to answer the ends of public speaking, then, and not till then, let it be said that a peculiar talent or natural aptitude is requisite, the want of which must render effort vain ; then, and not till then, let us acquiesce in this indolent and timorous notion, which contradicts the whole testimony of antiquity and all the experience of the world. Questions. 1 . What is the element in this lesson ? 2. What is the Topic? 3. Define Expulsive Form. 4. Explain the action of the diaphragm and abdominal muscles in produeing the Expulsive Form. 5. What is the instrument of sound ? 6. What is the reservoir of air ? 7. What are the advantages of the Expulsive Form ? 8. How does the action of the abdomen assist the vocal utter- ance? 9 When should the Expulsive Form be used ? 10. How do we ascertain this principle? 11. Give some examples. 12. Why does the selection require Expulsive Form? Expulsive Form. 43 DIAGRAM OF SECOND LESSON. f Position. 1. Exercises < Breathing. [Phonics. 2. Review First Lesson Theoretically and Practically. 3. Element Form. Definition. Illustration. Advantages. Principle of Expression, or when used. b Example. LESSON III. Exercises in Position. 1. Class take first position. 2. Change from first to second position by stepping forward with the left foot. 3. Change from second to first position by stepping forward with the right foot. Exercises in Breathing. 1. Inhale quickly and quietly, and exhale rapidly and audibly, on the sound of h. 2. Inhale slowly and exhale suddenly on the sound of the letter h. Repeat several times. Exercises in Articulation. a, as in aim. aim, ale, age, pale, pray, day. 44 Science of Elocution. 1. He is a saint. 2. May we pay our way ? 3. They say that we will fail. 4. If we fail we can do no worse. 5. He may pray, but it will be all in vain. Review briefly the Effusive and Expulsive Forms. Explosive Form. >7 The Explosive is that form of voice in which the sound bursts forth instantaneously from the organs. It resembles in suddenness the crack of a pistol or the report of a rifle. This form of voice proceeds from a violent and ab- rupt exertion of the abdominal muscles acting on the diaphragm, and thus discharging a large volume of air previously inhaled. "The breath in this process is, as it were, dashed against the glottis or lips of the larynx, causing a loud and instantaneous explosion. Just before the act of explosion the chink of the glottis is for a mo- ment closed, and a resistance offered to the escape of the breath, by a firm compression of the lips of the larynx, and downward pressure of the epiglottis. After this instant pressure and resistance follows the explosion caused by the appulsive act of the abdominal muscles and diaphragm propelling the breath with pow- erful and irresistible force on the glottis and epiglottis, which at length give way, and suffer the breath to escape with a loud and sudden report of a purely ex- plosive character. Advantages. No exercise is so effectual for imparting energy to the tone, or strengthening weak organs, as practice on the Explosive Form of voice. Explosive Form. 45 Combined with the Expulsive, in argumentative dis- course, it gives life and energy to the utterance. " This form of the human voice (the Explosive) is one of the most impressive in its effects. By a law of our constitution it acts with an instantaneous shock on the sympathetic nerve, and rouses the sensibility of the whole frame ; it summons to instant action all the senses, and in the thrill which it sends from nerve to brain we feel its awakening and inciting power over the mind. " With the rapidity of lightning it penetrates every faculty, and sets it instinctively on the alert. "It seems designed by nature as the note of alarm to the citadel of the soul." But it must not be prac- ticed too frequently or forcibly. Like all violent ex- ercises it must be used judiciously. Practice the following sounds, words, and sentences with all the force and abruptness you can command, being careful, however, not to give too high a pitch to the utterance. In connection with these exercises practice the me- chanical act of coughing and laughing. Exercises in Explosive Form. 1. I, as heard in it. 2. e, " " let. 3. a, " " add. 4. a, " " ask. 5. 6, " " odd. 6. ti, " " up. back, hack, trip, mock, stuck, lot, lied. / 46 Science of Elocution. 1. On ! Stanley on ! 2. Forward the Light Brigade ! 3. Stand to your guns, men ! EXERCISES. Contrasting Effusive. Expulsive, and Explosive Forms. Repeat the elements, words, and sentences in the Effusive, Expulsive, and Explosive Forms. Explosive Form When Used. The Explosive Form is appropriately employed in the expression of ecstatic joy, the sudden cry of terror and alarm, the quick, sharp command. This principle is illustrated in the merry ringing laugh of childhood, the gladsome bark of the dog, the joyous song of birds, the angry yell of the Indian war- rior, the sharp, rapid stroke of the fire bell, the sudden report of the rifle, the startling peal of thunder. EXAMPLE : JOYOUS THOUGHT. Explosive Form. Voice of Spring. MRS. HEMANS. 1 I come, I come ! ye have called me long, I come o'er the mountains with light and song ; Ye may trace my step o'er the wakening earth, By the winds which tell of the violet's birth, By the primrose stars in the shadowy grass, By the green leaves opening as I pass. 2 I have breathed on the south, and the chestnut-flowers By thousands have burst from the forest-bowers : And the ancient graves, and the fallen fanes, Are veiled with wreaths on Italian plains. But it is not for me, in my hour of bloom, To speak of the ruin or the tomb ! Explosive Form. 47 3 I have passed o'er the hills of the stormy north, And the larch has hung all his tassels forth, The fisher is out on the sunny sea, And the reindeer bounds through the pasture free ; And the pine has a fringe of softer green, And the moss looks bright where my step has been. 4 I have sent through the wood-paths a gentle sigh, And called out each voice of the deep-blue sky, From the night-bird's lay through the starry time, In the groves of the soft Hesperian clime, To the swan's wild note by the Iceland lakes, Where the dark fir-bough into verdure breaks. 5 From the streams and founts I have loosed the chain; They are sweeping on to the silvery main, They are flashing down from the mountain brows, They are flinging spray on the forest boughs, They are bursting fresh from their sparry caves, And the earth resounds with the joy of waves. 6 Come forth, O ye children of gladness, come ! Where the violets lie may now be your home. Ye of the rose-cheek and dew- bright eye, And the bounding footstep, to meet me fly ; With the lyre, and the wreath, and the joyous lay, Come forth to the sunshine, I may not stay. 7 Away from the dwellings of careworn men, The waters are sparkling in wood and glen ; Away from the chamber and dusky hearth, The young leaves are dancing in breezy mirth; Their light stems thrill to the wild- wood strains, And youth is abroad in my green domains. S The summer is hastening, on soft winds borne ; Ye may press the grape, ye may bind the corn ; For me, I depart to a brighter shore Ye are marked by care, ye are mine no more. I go where the loved who have left you dwell, And the flowers are not Death's fare ye well, farewell I 48 Science of Elocution. Questions. 1. What is the element in thia lesson? 2. Describe the Explosive Form. 3. How is it produced ? 4. What are the advantages of the Explosive Form? 5. When should the Explosive Form be used ? 6. Where in nature is this principle illustrated? 7 Why does the selection require the Explosive Form ? DIAGRAM OF THIRD LESSON. {Position. Breathing. Phonics. 2. Review Second Lesson. 3. Element Form. 4. Topic Explosive Form. Definition. Illustration. Advantages. How Acquired. Class Exercises. Principle of Expression. Examples. LESSON IV. Exercises in Position. Take first position. 1. Change from first to third position by stepping forward about six or eight inches with the right foot, and resting the weight of the body upon the right. 2. Change from the third to first position by bring- ing up the left foot to within about three inches of the right, and resting the weight of the body upon the left. 3. Change from the first to the fourth position by stepping forward with the left foot about six or eight Qualities of Voice. 49 inches, and balancing the body with the toe or ball of the right foot. 4. Change from fourth to first position by bringing up the right foot. Exercises in Breathing and Gesture. Inflate the lungs, and at the same time raise the tips of the fingers to the shoulders, strike downward forci- bly, and at the same time expel the breath from the lungs. Repeat the exercise several times. Exercises in Articulation. a, as in air. there, lair, dare, chair, prepare, prayer. 1. Dare to do right. 2. The air is very cool. 3. Swear by my sword. 4. Come, boy, prepare yourself. 5. Air, earth, and sea, resound his praise. Review carefully the Forms of Voice. y QUALITIES OF VOICE. Quality is the kind of tone, the purity or impurity of the voice S\ Every vocal utterance must have some quality. This may be Pure Tone, Orotund, Oral, Aspirate, Pectoral, Guttural, Falsetto, or Nasal, or a combination of two or more of these. Qualities of voice may be divided according to their use and importance into three classes. To the first 50 Science of Elocution. class belong the Pure Tone, Orotund, and Oral. These qualities are employed in the expression of the higher and nobler styles of thought and feeling. Nature teaches this principle in the pure clear notes of the birds, the grand roar of Niagara, the sad tones of the animals in their expressions of sympathy and suf- fering. To the second class belong the Aspirate, Pec- toral, and Guttural, qualities employed chiefly in the expression of the harsh, repulsive, malignant thoughts and feelings. This we learn from the hiss of the snake, aspirate in quality ; the growl of the lion, tiger, hyena, and all blood-thirsty animals, always more or less guttural or pectoral in character. To the third class belong the Falsetto and Nasal, qualities having but little in common, and the classification not founded in nature. They are simply thrown together here to present the subject in a more systematic order. They are chiefly used in the expression of burlesque and mimicry, though the falsetto is often employed in the expression of the elevating and ennobling. Many teachers and writers upon this subject have divided the qualities of voice into two classes, "Pure" and " Impure," placing under the first class only Pure Tone and Orotund, and under the second class all the others. They have taught that only the qualities termed "Pure" should be cultivated, that they are the only qualities required, that all others are defective, im- proper, and should be avoided. Now, while the Pure Tone and Orotund are the qualities most frequently employed, they are not the only qualities required; Aspirate, Pectoral, Guttural, Oral, Falsetto, and even Nasal being indispensable to the expression of certain styles of thought and feeling. To express fear or awe with Pure Tone is as inappropriate as to express joy Pure Tone. 51 with Aspirate ; to express revenge or hate with Orotund is as incorrect as to utter sublimity with Guttural. Appropriate utterance requires the adaptation of the quality of voice to the sentiment expressed. To determine the quality appropriate for the expres- sion of the different styles of thought and feeling is an important part of the study of Elocution. Here, as every-where in the study of this science and art, we must " Hold the mirror up to Nature." Her teach- ings are infallible ; her guidance unerring. If we but learn her lessons aright, we will understand the principles of expression; if we but embody her teach- ings in practice, we will correctly illustrate the art of Elocution. Upon no element of expression are the teachings of Nature more explicit than upon Quality. In every wind that blows, in every thunder-peal that rolls, in every laughing, dancing brook, and every storm-tossed wave, we find an instructive lesson. Each has a quality appropriate to the thought or feeling awakened. As quality cannot exist except in some form, and as all the qualities may be given in each of the forms, each quality will be presented in the three forms. XPure Tone. Pure Tone is that quality of voice in which all the breath is converted into a clear, round, smooth, musical sound, with the resonance in the back part of the roof of the mouth. It is free from all Aspirate, Oral, Nasal, or other impure qualities. Jl/ Owing to our neglect off Voice-culture this quality, so peculiar to childhood, is rarely possessed in more 52 Science of Elocution. mature age. The restraining influences of the school- room tend directly to destroy all the natural purity and sweetness of the voice. Advantages. The advantages of Pure Tone are twofold first, to the speaker ; second, to the hearer. It is produced with less expenditure of breath than any other qual- ity ; its effect upon the vocal organs is beneficial rather than injurious ; with the same effort it is heard at a greater distance than any other quality ; its clear musical properties give a distinctness to articulation and an ease to utterance grateful to the ear; it pro- duces none of the jarring effects experienced in list- ening to a speaker whose voice is harsh, hard, or in any way impure in quality. / To cultivate and restore this natural quality, practice daily the following exercises with the strictest atten- tion to the purity of the tone. Repeat a number of times each of the following ele-, ments in the Effusive Form with the utmost purity of tone. It will be noticed that the object of the exercise on page 33 was to cultivate Effusive Form without reference to quality or other attributes. The special object of this exercise is to cultivate Pure Tone, and, at the same time, to retain and perfect what was gained by the exercises under Form. It should be con- stantly borne in mind that in connection with each new exercise, attention should be given to all the pre- vious exercises, so that when the exercises in move- ment of Voice are presented (the last exercises under the Essential elements), they will be not only exercises in Movement, but also in Form, Quality, Force, Stress, and Pitch. Puke Tone, Effusive Form. 53 Exercises in Pure Tone, Effusive Form. I. e, as heard in me, see. 2. a, it ale, pale. 3. a, t< father, arm. 4. a, a all, talk. 5. o, a no, old. 6. 66, a moon, food. Repeat the words with less prolongation. all, fall, breathe softly, gently, wondrous, bow, heaven, beauteous, brow, sleep, pall. Pure Tone, Effusive Form When Used. In the first lesson you were taught that it is a principle of expression that the Effusive Form should always be employed in the expression of pathos, solem- nity, sublimity, grandeur, reverence, adoration, and devotion, of a quiet and tranquil character. Now if we limit the Effusive Form to Pure Tone we necessarily exclude many styles of thought and feel- ing, for Effusive Form has greater extension than Effusive Form, Pure Tone ; and each element un- limited will have a wider range in expression than when limited even by one other element. Pure Tone, Effusive Form, is appropriately employed chiefly in the expression of pathetic, solemn, serious, and tranquil thought. This principle is illustrated in the plantive cooing of the dove, the solemn tones of the iEolian harp, and the tranquil murmur of the brocK, all of which are not only Effusive in Form but Pure in Quality. 54 Science of Elocution. x EXAMPLE: SOLEMNITY. Pure Tone, Effusive Form. Nearer Home PHEBE CARY. 1 One sweetly solemn thought Comes to me o'er and o'er; I'm nearer my home to-day Than I ever have been before. 2 Nearer my Father's house, Where the many mansions be ; Nearer the great white throne, Nearer the crystal sea ; 3 Nearer the bound of life, Where we lay our burdens down; Nearer leaving the cross, Nearer gaining the crown. 4 But the waves of that silent sea Roll dark before my sight, That brightly the other side Break on a shore of light. 5 O, if my mortal feet Have almost gained the brink, If it be I am nearer home Even to-day than I think, 6 Father, perfect my trust, Let my spirit feel in death That her feet are firmly set On the Rock of a living faith. x Questions. 1. Define quality. 2. How many qualities of voice are there ? 3. Into how many classes are they divided ? 4. To the first class belong what qualities? When used? 5. To the second class belong what qualities? When used? Pure Tone, Effusive Form. 55 6. To the third class belong what qualities ? When used ? 7. Where do we learn when the different qualities should be used? 8. Give illustrations. 9. What does appropriate utterance require? 10. What is an important part of the study of Elocution? 11. Who is the best instructor? 12. Give some illustrations of the teachings of nature on the quali- ties of voice ? 13. In connection with what other element must quality be pre- sented? Why? 14. How will the qualities be presented? 15. Define Pure Tone. 16. Why do we so seldom find persons of adult years with pure, clear, sweet tones ? 17. What is the special object of the exercise in this lesson ? 18. When do we use Pure Tone, Effusive Form? 19. Why does the selection require Pure Tone? 20. Why Effusive Form? DIAGRAM OF FOURTH LESSON. Review Forms. Exercises Element Quality . Definition. Division Illustration. Topic Pure Tone Effusive. r Effusive. < Expulsive. (_ Explosive. f Position. J Gesture. ] Breathing. [ Phonics. !' Pure Tone. First Class.. < Orotund. [Oral. f Aspirate. Second Class. 1 Pectoral. I Guttural. Third Class. f Falsetto. Nasal. Definition. Illustration. Advantages. How Acquired. Class Exercises. Principles of Expression. _ Examples. 66 Science of Elocution. LESSON V. Exercises in Position. First position. 1. Change from first to fourth position by stepping forward to the left about six or eight inches at an angle of forty-five degrees. 2. Change from fourth to first by bringing up the right foot. 3. Change from fourth to third by stepping forward to the left. 4. Change from third to first by bringing up the left foot. Repeat these changes several times. Exercises in Breathing and Gesture. 1. Inhale slowly and quietly, and exhale slowly, while elevating and lowering the arms. 2. Place the arms akimbo, and inhale and exhale very rapidly several times. Exercises in Articulation. a, as m arm. arm, harm, qualm, calm, palm, psalm, 1. I will not harm thee, boy. 2. The night was calm and beautiful. 3. The psalm was warrior David's song. 4. The balmy breath of incense-breathing morn. 5. Father, thy hand hath reared this venerable column. Pure Tone, Expulsive Form. 57 Having defined Pure Tone in the last and Expulsive Form in the second lesson, it will not be necessary to here repeat the definitions. The quality Pure Tone is the same in all forms. Exercises for Cultivating Pure Tone, Expulsive Form. 1. e, as heard in me. 2. a, a arm 3. a, a u add. 4 s, t( a end. 5. o, a a odd. 6. u, iC a up. arm, on, bet, let, back, down, live, again, fury, usage, use, value, statue, renew, few. 1. The curfew tolls. 2. He knew that it was wrong. 3. The general reviewed his army. 4. Few shall part where many meet. 5. The demand determines the value. Guttural Quality. The Guttural is that quality of voice in which the sound is sent forth from the organs in a rough, harsh, discordant tone, with the resonance in the lower part of the throat. It resembles in quality the growling utter ance of the lower animals. It differs from the Pectoral only in degree. They are, indeed, one and the same quality, the Pectoral being but a milder form of the Guttural. To cultivate this quality of voice practice the elements, words, and sentences with a muffled, harsh, smothered tone. Guttural, Effusive Form. 109 Exercises in Guttural, Effusive Form. 1. 1, as heard in lull, fill. 2. r, * " round, rise. 3. g, " " give, hag. 4. k, " " kick, lick. 5. v, " " vile, vice, revenge, hinder, mocked, losses, hates, gratitude, enemies, bargains, despise, lives, harshness, million. 1. Cursed be my tribe if I forgive him. 2. I'll have my bond ; I will not hear thee speak. EXERCISES Contrasting Effusive, Oral and Guttural, Orotund and Pectoral. Repeat the above elements, sounds, and sentences with 1. Effusive Oral. 2. Effusive Guttural. 3. Effusive Orotund. 4. Effusive Pectoral. Guttural Effusive When Used. The Guttural, in the Effusive Form, is the quality appropriate for the expression of dread, horror, settled hate, malice, loathing, contempt, and suppressed anger. EXAMPLES : 1. HOKKOB AND DBEAD, Guttural, Effusive Eorm. Macbeth. SHAKE8PEABE. Now o'er the one half world Nature seems dead ; and wicked dreams abuse The curtained sleep ; now witchcraft celebrates Pale Hecate's offerings ; and withered murder, Alarumed by his sentinel, the wolf, 110 Science of Elocution. Whose howl's his watch, thus, with his stealthy pace toward his design Moves like a ghost. Thou sure and firm-set earth, Hear not my steps, which way they walk, for fear Thy very stones prate of my whereabout, And take the present horror from the time, Which now suits with it. 2. HATBED AND MALICE. Merchant of Venice. SHAKESPEABE. How like a fawning publican he looks ! I hate him, for he is a Christian ; But more, for that, in low simplicity, He lends out money gratis, and brings down The rate of usance here with us in Venice. If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him. He hates our sacred nation ; and he rails, Even there where merchants most do congregate, On me, my bargains, and my well-won thrift, Which he calls interest : Cursed be my tribe If I forgive him ! Questions. 1. "What Quality is presented in this lesson ? 2. Define it. 3. What is the difference between the Quality in this lesson an sound, loud. 1. Say our home. 2. There, Mr. Caudle. EXERCISES Contrasting Expulsive Falsetto and Orotund. Repeat the words, sounds, and sentences with 1. Expulsive Falsetto. 2. Expulsive Orotund. Falsetto Expulsive When Used. The Falsetto in the Expulsive Form is appropriately employed in calling, scolding, burlesque, command, and utterance of severity. EXAMPLE : CALLING, ECHO, AND BTJBLESQUE. Falsetto Expulsive. The Charcoal Man. J. T. TBOWBKIDGE. Though rudely blows the wintry blast, And sifting snows fall white and fast, Mark Haley drives along the street, Perch'd high upon his wagon seat : His somber face the storm defies, And thus from morn till eve he cries, "Charco' ! charco' ! " While echo faint and far replies, "Hark, Olhark, O!" " Charco' ! " M Hark, O ! " Such cheery sounds Attend him on his daily rounds. 122 Science of Elocution. The dust begrimes his ancient hat; His coat is darker far than that : 'Tis odd to see his sooty form All speckled with the feathery storm ; Yet in his honest bosom lies Nor spot nor speck, though still he cries, "Charco' ! charco'!" And many a roguish lad replies, "Ark, ho! ark, ho!" " Charco' ! ""Ark, ho ! " Such various sounds Announce Mark Haley's morning rounds. Thus all the cold and wintry day He labors much for little*pay; Yet feels no less of happiness Than many a richer man, I guess, When through the shades of eve he spies The light of his own home, and cries, "Charco' ! charco'!" And Martha from the door replies, "Mark, ho! Mark, ho!" " Charco' ! " " Mark, ho ! " Such joy abounds When he has closed his daily rounds. The hearth is warm, the fire is bright ; And, while his hand, wash'd clean and white, Holds Martha's tender hand once more, His glowing face bends fondly o'er The crib wherein his darling lies; And in a coaxing tone he cries, "Charco'! charco'!" And baby with a laugh replies, "Ah, go! ah, go!" " Charco' ! " " Ah, go ! "While at the sounds The mother's heart with gladness bounds. Then honored be the charcoal man ! Though dusky as an African, 'Tis not for you, that chance to be A little better clad than he, Falsetto Expulsive. 123 His honest manhood to despise, Although from morn till eve he cries, " Charco' ! charco' ! " While mocking echo still replies, "Hark, O! hark, O!" "Charco' ! " "Hark, O ! " Long may the sounds Proclaim Mark Haley's daily rounds ! Questions 1. What parts of the selection require the Falsetto Expulsive? 2. What do the other parts require ? lessoist xxiii. 1. Exercises in Position. 2. Exercises in Gesture. 3. Exercises in Breathing. Exercises in Articulation. g, as m gem. jam, join, cage, jump, June, jeer. 1. Justly judge the cause. 2. Gems of richest ray serene. 3. Justice should join with Mercy. 4. Join, all ye people, in his praise. 5. Juno, the sister and wife of Jupiter. The exercises which have been given under the Ef- fusive and Expulsive will be quite sufficient for culti- vating the Falsetto. 124 Science of Elocution, exercises Contrasting Falsetto and Pure Tone Explosive. Repeat the words, sounds, and sentences with 1. Explosive Pure Tone. 2. Explosive Falsetto. Falsetto Explosive When Used. In the Explosive Form the Falsetto will be employed chiefly in scolding and burlesque. EXAMPLE. Falsetto Explosive. The Green Mountain Justice. 1 " The snow is deep," the Justice said; "There's mighty mischief overhead." "High talk, indeed! " his wife exclaimed; "What, sir! shall Providence be blamed?" The Justice, laughing, said, " O no ! I only meant the loads of snow Upon the roof. The barn is weak ; 1 greatly fear the roof will break. So hand me up the spade, my dear, I'll mount the barn, the roof to clear." " No ! " said the wife; "the barn is high, And if you slip, and fall, and die, How will my living be secured? Stephen, your life is not insured. But tie a rope your waist around, And it will hold you safe and sound." "I will," said he. " Now for the roof All snugly tied, and danger-proof ! Excelsior ! Excel But no ! The rope is not secured below ! " Said Radiol, "Climb, the end to throw Across the top, and I will go And tie that end around my waist." 1 ' Well, every woman to her taste ; You always would be tightly laced. Falsetto Explosive. 125 Rachel, when you became my bride, I thought the knot securely tied ; But lest the bond should break in twain, I'll have it fastened once again." 2. Below the elbows tied around, She takes her station on the ground, While on the roof, beyond the ridge, He shovels clear the lower edge. But, sad mischance ! the loosened snow Comes sliding down, to plunge below. And as he tumbles with the slide, Up Rachel goes on t'other side. Just half-way down the Justice hung; Just half-way up the woman swung. " Good land o' Goshen! " shouted she; "Why, do you see it?" answered he. 8. The couple, dangling in the breeze, Like turkeys hung outside to freeze, At their rope's end and wit's end, too, Shout back and forth what best to do. Cried Stephen, " Take it coolly, wife; All have their ups and downs in life." Quoth Rachel, "What a pity 'tis To joke at such a time as this ! A man whose wife is being hung Should know enough to hold his tongue." 1 ' Now, Rachel, as I look below, I see a tempting heap of snow. Suppose, my dear, I take my knife, And cut the rope to save my life." She shouted, "Don't! 'twould be my death- I see some pointed stones beneath. A better way would be to call With all our might, for Phebe Hall." "Agreed! " he roared. First he, then she Gave tongue: "O Phebe! Phebe! PJie-e-be Hall ! " in tones both fine and coarse, Enough to make a drover hoarse. 126 Science of Elocution. 4. Now Phebe, over at the farm, Was sitting, sewing, snug and warm ; But hearing, as she thought, her name, Sprang up, and to the rescue came, Beheld the scene, and thus she thought : "If now a kitchen chair were brought, And I could reach the lady's foot, I'd draw her downward by the boot, Then cut the rope, and let him go ; He cannot miss the pile of snow." He sees her moving toward his wife, Armed with a chair and carving-knife, And, ere he is aware, perceives His head ascending to the eaves ; And, guessing what the two are at, Screams from beneath the roof, " Stop that! You'll make me fall too far, by half ! " But Phebe answers, with a laugh, "Please tell a body by what right You've brought your wife to such a plight l" And then, with well-directed blows, She cuts the rope and down he goes. 5. The wife untied, they walk around, When lo ! no Stephen can be found. They call in vain, run to and fro ; They look around, above, below ; No trace or token can they see, And deeper grows the mystery. Then Rachel's heart within her sank ; But, glancing at the snowy bank, She caught a little gleam of hope, A gentle movement of the rope. They scrape away a little snow; What's this? A hat! Ah! he's below. Then upward heaves the snowy pile, And forth he stalks in tragic style, Unhurt, and with a roguish smile ; i And Rachel sees, with glad surprise, The missing found, the fallen rise. Nasal Quality. 127 Questions. 1. What parts of the selection in this lesson require the Explosive Falsetto? 2. What do the other parts require ? LESSON XXIV. 1. Exercises in Position. 2. Exercises in Gesture. 3. Exercises in Breathing. Exercises in Articulation. v, as in veer. vale, vase, vent, have, live, brave. 1. Value virtue highly. 2. Valiant deeds deserve praise. 3. Vain, vain, are all thy efforts. 4. Verily, verily, I say unto you. 5. Vile villains vent their vengeance. Nasal Quality. The Nasal is a dull, heavy quality of voice, having the resonance in the nasal passage. It is not, as is gen- erally supposed, a speaking through the nose, for the tone may be produced as well with nostrils closed as with them open, but simply placing the resonance in the nasal passage. As this quality is rarely used, except in ludicrous impersonation, it will be presented only in one form, the Expulsive. 128 Science of Elocution. Practice the following sounds and words, first with the nasal passage closed and then in a nasal tone with it open. Exercises in Nasal Expulsive. 1. e, as in me. 2. a, " ale. 3. I, " wiud. 4. u, " use. birds, trees, smarter, thumb, man, down, weasel, asleep, pain, head, speak, flying. Nasal Expulsive When Used. The Nasal Quality will rarely be required except in the personation of peculiar characters, in which the object is to burlesque and render more ludicrous. In the fol- lowing selection the utterances of Darius should be given with the Nasal Expulsive. EXAMPLE : BURLESQUE. Nasal, Expulsive Form. Darius Green and his Flying-Machine. J. T. TBOWBBIDGE. 1. If ever there lived a Yankee lad, Wise or otherwise, good or bad, Who, seeing the birds fly. didn't jump With flapping arms from stake or stump, Or, spreading the tail of his coat for a bail, Take a soaring leap from post or rail, And wonder why he couldn't fly, And flap and flutter and wish and try, If ever you knew a country dunce Who didn't try that as often as once, All I can say is, that's a sign He never would do for a hero of mine. Nasal, Expulsive Form. 129 An aspiring genius was Dary Green; The son of a farmer, age fourteen, His body was long and lank and lean, Just right for flying, as will be seen ; He had two eyes as bright as a bean, And a freckled nose that grew between, A little awry ; for I must mention That he had riveted his attention Upon his wonderful invention, Twisting his tongue as he twisted the strings, And working his face as he work'd the wings, And with every turn of gimlet or screw Turning and screwing his mouth round too, Till his nose seem'd bent to catch the scent, Around some corner, of new-baked pies, And his wrinkled cheeks and his squinting eyes Grew puckered into a queer grimace, That made him look very droll in the face, And also very wise. And wise he must have been, to do more Than ever a genius did before, Excepting Daedalus of yore And his son Icarus, who wore Upon their backs those wings of wax He had read of in the old almanacs. Darius was clearly of the opinion, That the air is also man's dominion, And that, with paddle or fin or pinion, We soon or late shall navigate The azure as now we sail the sea. 'lite thing looks simple enough to me; And, if you doubt it, Hear how Darius reason'd about it : " The birds can fly, an' why can't I? Must we give in," says he with a grin, " That the bluebird an' phoebe are smarter'n we be? Jest fold our hands, an' see the swaller An' black-bird an' cat-bird beat us holler? 9 130 Science of Elocution. Does the little chatterin', sassy wren, No bigger'n my thumb, know more than men? Jest show me that ! ur prove 't the bat Hez got more brains than's in my hat, An' I'll back down, an' not till then ! " He argued further: " Nur I can't see What's th' use o' wings to a bumble-bee, Fur to git a livin' with, more'n to me ; Aint my business important's his'n is? That Icarus made a pretty muss, Him an' his daddy Daedalus ; They might 'a' know'd that wings made o' wax Wouldn't stand sun-heat an' hard whacks : I'll make mine o' luther, ur suthin' ur other. " And he said to himself, as he tinker'd and plann'd, " But I aint goin' to show my hand To nummies that never can understand The fust idee that's big an' grand." So he kept his secret from all the rest, Safely buttoned within his vest ; And in the loft above the shed Himself he locks, with thimble and thread And wax and hammer and buckles and screws, And all such things as geniuses use ; Two bats for patterns, curious fellows ! A charcoal-pot and a pair of bellows ; Some wire, and several old umbrellas ; A carriage-cover, for tail and wings; A piece of harness ; and straps and string ; And a big strong box, in which he locks These and a hundred other things. His grinning brothers, Reuben and Burke And Nathan and Jotham and Solomon, lurk Around the corner to see him work, Sitting cross-legged, like a Turk, Drawing the wax'd-end through with a jerk, And boring the holes with a comical quirk Of his wise old head, and a knowing smirk. Nasal, Expulsive Form. 131 But vainly they mounted each other's backs, And poked through knot-holes and pried through cracks ; With wood from the pile and straw from the stacks He plugg'd the knot-holes and calk'd the cracks ; And a dipper of water, which one would think He had brought up into the loft to drink When he chanced to be dry, Stood always nigh, for Darius was sly ! And, whenever at work he happen'd to spy At chink or crevice a blinking eye, He let the dipper of water fly : " Take that! an', ef ever ye git a peep, Guess ye'll ketch a weasel asleep ! " And he sings as he locks his big strong box : 5. " The weasel's head is small an' trim, An' he is little an' long an' slim, An' quick of motion an' nimble of limb, An' ef you'll be advised by me, Keep wide-awake when ye're ketchin' him! " 6. So day after day He stitch'd and tinker'd and hammer'd away, Till at last 'twas done, The greatest invention under the sun ! " An' now," says Darius, "hooray for some fun ! " 7. 'Twas the Fourth of July, and the weather was dry, And not a cloud was on all the sky, Save a few light fleeces, which here and there Half-mist, half-air, Like foam on the ocean went floating by, Just as lovely a morning as ever was seen For a nice little trip in a flying-machine. Thought cunning Darius, " Now I sha'n't go Along 'ith the fellers to see the show: I'll say I've got sich a terrible cough! An' then when the folks 'ave all gone off, I'll hev full swing fur to try the thing, An' practice a little on the wing." 132 Science of Elocution. 8. " Aint goin' to see the celebration? " Says Brother Nate. " No ; botheration ! I've got sich a cold a toothache I My gracious ! feel's though I should fly ! " Said Jotham, " Sho! guess ye better go." .But Darius said, "No! Shouldn't wonder 'f you might see me, though, 'Long 'bout noon, ef I git red O' this jumpin', thumpin' pain in my head." 9. For all the while to himself he said, " I tell ye what! I'll fly a few times around the lot, To see how it seems, then soon's I've got The hang o' the thing, ez likely's not, "I'll astonish the nation, an' all creation, By flyin' over the celebration ! Over their heads I'll sail like an eagle ; I'll balance myself on my wings like a sea-gull ; I'll dance on the chimbleys ; I'll stand on the steeple ; I'll flop up to winders an' scare the people ! I'll light on the liberty -pole, an' crow ; An' I'll say to the gawpin' fools below, ' What world's this 'ere that I've come near ? ' Fur I'll make 'em b'lieve I'm a chap f 'm the Moon ; An' I'll try a race 'ith their oV balloon ! " 10. He crept from his bed ; And, seeing the others were gone, he said, "I'm gittin' over the cold 'n my head." And away he sped, To open the wonderful box in the shed. 11. His brothers had walk'd but a little way, When Jotham to Nathan chanced to say, "What is the feller up to, hey?" " Don'o', the's suthra' ur other to pay, Ur he wouldn't 'a' stay'd to hum to-day." Says Burke, "His toothache's all 'n his eye! He never'd miss a Fo'th-o'-July, Ef he hedn't got some machine to try." Nasal, Expulsive Form. 133 Then Sol, the little one, spoke : ' ' By darn Le's hurry back, an' hide 'n the barn, An' pay him fur tellin' us that yarn! " "Agreed ! " Through the orchard they creep back, Along by the fences, behind the stack, And one by one, through a hole in the wall, In under the dusty barn they crawl, Dress'd in their Sunday garments all ; And a very astonishing sight was that, "When each in his cobwebb'd coat and hat Came up through the floor like an ancient rat. And there they hid ; and Reuben slid The fastenings back, and the door undid. ''Keep dark ! " said he, "While I squint an' see what the' is to see." 12. As knights of old put on their mail, From head to foot an iron suit, Iron jacket and iron boot, Iron breeches, and on the head No hat, but an iron pot instead, And under the chin the bail (I believe they call'd the thing a helm), Then sallied forth to overwhelm The dragons and pagans that plagued the realm ; So this modern knight prepared for flight, Put on his wings and strapp'd them tight, Jointed and jaunty, strong and light, Buckled them fast to shoulder and hip, Ten feet they measured from tip to tip ! And a helm had he, but that he wore, Not on his head, like those of yore, But more like the helm of a ship. 13. " Hush !" Reuben said, "he's up in the shedi He's open'd the winder, I see his head ! He stretches it out, an' pokes it about, Lookin' to see ">f the coast is clear, An' nobody near; Guess he don'o' who's hid in here ! 13i Science of Elocution. He's riggin' a spring-board over the sill ! Stop laffin', Solomon ! Burke, keep still ! He's a clim'in' out now Of all the things ! What's he got on? I van, it's wings! An' that t'other thing? I vum, it's a tail! "An' there he sets like a hawk on a rail ! Steppin' careful, he travels the length Of his spring-board, an' teeters to try its strength, Now he stretches his wings, like a monstrous bat : Peeks over his shoulder, this way an' that, Fur to see 'f the' 's any one passin' by, But the' 's on'y ca'f an' a goslin' nigh. They turn up at him wonderin' eye, To see The dragon ! he's goin' to fly ! Away he goes ! Jimminy ! what a jump ! Flop flop an' plump to the ground with a thump ! Flutt'rin' an flound'rin', all'n a lump ! " 14. As a demon is hurl'd by an angel's spear, Heels over head, to his proper sphere, Heels over head, and head over heels, Dizzily down the abyss he wheels, So fell Darius. Upon his crown, In the midst of the barn-yard, he came down, In a wonderful whirl of tangled strings, Broken braces and broken springs, Broken tail and broken wings, Shooting-stars and various things, Barn-yard litter of straw and chaff. Away with a bellow fled the calf, And what was that? Did the gosling laugh? 'Tis a merry roar from the old barn-door, And he hears the voice of Jotham crying: " Say, D'rius! how do you like flyin'? " Slowly, ruefully, where he lay, Darius just turn'd and look'd that way, As he stanch'd his sorrowful nose with his cuff. " Wal, I like flyin' well enough," He said; " but the' aint sich a thunderin' sight O' fun in't when ye come to light. " Nasal, Expulsive Form. 135 I just have room for the moral here : And this is the moral, Stick to your sphere; Or, if you insist, as you have the right, On spreading your wings for a loftier flight, The moral is, Take care how you light. Questions. 1. Define Nasal Quality. 2. Why is it presented only in one form ? 3. What Form and Quality do the other parts require ? 4. Why does the impersonation require Nasal Quality ? LESSON XXV. In this and the following lessons " Exercises in Po- sition, Breathing, and Gesture" will be omitted, but they should be practiced, if not daily, at least three times a week. Exercises in Articulation. th, as in this, thence, their, than, breathe, beneath, wreathe. 1. Wreathe flowers for the valiant dead. 2. Breathes there a man with soul so dead ? 3. This is the place, the center of the grove. 4. Thou breathest, silent the submissive waves. 5. Beneath those rugged elms, that yew-tree's shade. 136 Science of Elocution. FORCE OF VOICE. Force is the degree of intensity with which sound is sent forth from the vocal organs. Volume and loudness, though not identical with force, are dependent upon it. A full volume is produced by- energetic or impassioned force with Pure Tone, or Oro- tund Quality in all forms; great loudness by impassioned force, Pure Tone, or Orotund, High Pitch, and in all forms. No amount of force can give great volume or loud- ness to Aspirate Quality in any of its forms. Volume relates to the amount of space filled with the sound; loudness to the distance at which a sound can be heard. The low, deep tones of the organ fill a vast space, though they would not be heard at a long dis- tance. The high, shrill notes of the fife can be heard at a long distance, yet they do not have great volume of sound. Force may be divided into Subdued, Moderate, En- ergetic, and Impassioned. These may again be subdivided at pleasure. For convenience three subdivisions will be given under each general division, though they may be in- creased indefinitely. Advantages of Force. Perfect command of every degree of force is indis pensable to excellence in expression. In the expression of pathos, the force must be re- duced to Subdued ; in the utterance of bold and lofty thought, it rises to Impassioned; in the delivery of di- dactic thought, it is pleasingly modulated to Moderate; speaking in a small room, the degree of force should be Subdued Force. 137 so modulated as not to be painful to the hearers; ad- dressing a vast assembly in the open air, the voice should be perfectly audible to the most distant hearer; speaking under the influence of strong excitement, the intensity of feeling should not hinder utterance, nor degenerate into ranting and vociferation. Such are some of the advantages of perfect command of Force of Voice. Exercises for cultivating Force of Voice will be pre- sented with the lessons on the different divisions. Subdued Force. Subdued is that degree of Force which ranges from the slightest sound which can be uttered in Pure Tone to the milder tones of ordinary conversation. To cultivate Subdued Force repeat each of the following elements, words, and sentences three times, beginning with the most subdued sound that can be uttered in Pure Tone, Effusive Form, increasing the force with each repeti- tion, but retaining as nearly as possible the same pitch. After practicing for a few minutes on one pitch, change to a key two or three notes lower or higher. DIAGRAM OF SUBDUED FORCE. t EXERCISES or cultivating Subdued Force. 1. a, as heard in age. 2. o, a U old. 3. e, (t it me. 4. h u t( ice. 138 Science of Elocution. orb, arm, low, soft, hopes, sleep. 1. With lowly reverence bow. 2. Tread softly; bow the head. 3. O change! O wondrous change ! EXERCISES Combining Form, Quality, and Subdued Force. Repeat each of the above sounds, words, and senten- ces with 1. Effusive Form, Aspirate Quality, Subdued Force. (First Degree.) 2. Effusive Form, Oral Quality, Subdued Force. (Second Degree.) 3. Effusive Form, Pure Tone, Subdued Force. (Third Degree.) Subdued Foece When Used. Subdued Force is appropriately employed chiefly in the expression of pathetic, solemn, serious, and tranquil thought. It is generally used in connection with Pure Tone, Effusive Form, but may be given with Oral, Aspirate, and Falsetto Qualities. It is doubtful whether Orotund, Pectoral, and Guttural can be given with Subdued Force, as a greater degree of force than Subdued will be required to produce those qualities. EXAMPLES : SOLEMN AND PATHETIC. Subdued Force, Pure Tone, Effusive Form. The Death-Bed. THOMA8 HOOD. 1. We watched her breathing through the night, Her breathing, soft and low, As in her breast the wave of life Kept heaving to and fro. Subdued Force. 139 2. So silently we seemed to speak, So slowly moved about, As we had lent her half our powers To eke her living out. 3. Our very hopes belied our fears, Our fears our hopes belied ; We thought her dying when she slept, And sleeping when she died. 4. For when the morn came, dim and sad, And chill with early showers, Her quiet eyelids closed she had Another morn than ours. The Burial of Arnold. N. P. "WILLIS. 1. Ye've gathered to your place of prayer With slow and measured tread : Your ranks are full, your mates all there ! But the soul of one has fled. He was the proudest in his strength, The manliest of ye all ; Why lies he at that fearful length, And ye around his pall ? 2. Ye reckon it in days since he Strode up that foot-worn aisle, With his dark eye flashing gloriously, And his lip wreathed with a smile. O had it been but told you then To mark whose lamp was dim, From out yon rank of fresh-lipped men, Would ye have singled him ? 3. Whose was the sinewy arm which flung Defiance to the ring ? Whose laugh of victory loudest rung Yet not for glorying ? Whose heart, in generous deed and thought, No rivalry might brook, And yet distinction claiming not ? There lies he go and look ! 140 Science of Elocution. 4. On now, his requiem is done, The last deep prayer is said ; On to his burial, comrades, on, With the noblest of the dead. Slow, for it presses heavily ; It is a man ye bear! Slow, for our thoughts dwell wearily On the noble sleeper there. 5. Tread lightly, comrades, ye have laid His dark locks on his brow ; Like life, save deeper light and shade, We'll not disturb them now. Tread lightly, for 'tis beautiful, That blue-veined eyelid's sleep, Hiding the eye death left so dull, Its slumber we will keep. 6. Rest now, his journeying is done, Your feet are on his sod ; Death's chain is on your champion, He waiteth here his God. Ay, turn and weep, 'tis manliness To be heart-broken here, For the grave of earth's best nobleness Is watered by the tear. Questions. 1. What is the element in this lesson ? 2. Define Force. 3. What is the difference between Force and loudness ? 4. Between Force and volume ? 5. What combination of elements will produce a full volume ? 6. Will the same combination give great loudness ? 7. What combination will produce loudness ? 8. Can great loudness be produced by Impassioned Force and Aspirate Quality ? 9. What does volume relate to? What loudness? 10. Give illustrations of each. Subdued Force. 141 1. What are the general divisions of Force? 12. How many subdivisions are given? 13. "Why is perfect command of all divisions of Force important? 14. How may Force of Voice be acquired ? In what other way ? 15. In practicing exercises in Force, what is important with refer- ence to Pitch ? 16. Define Subdued Force. 17. In the expression of what styles of thought and feeling will Subdued Force be chiefly employed ? 18. With what qualities of voice? 19. Why cannot Orotund, Pectoral, and Gutteral be given with Subdued Force? 20. With what Form can Subdued Force be given ? 21. Why do the selections require Subdued Force? 22. Why Pure Tone ? Why Effusive Form ? DIAGRAM OF TWENTY-FIFTH LESSON. 1. Exercises. f Position. J Gesture. 1 Breathing. I Articulation. 2. Element- f Definition -Force. -{ Divisions. , f Subdued. J Moderate. I Energetic. [ Illustrations. [ Impassioned. ' Definition. 3. Topic Subdued Force. 4. Selections. " The Death-Bed." Illustration. Advantages. i How Acquired. Class Exercises. Principle or When Used. b Examples. The Burial of Arnold." 142 Science of Elocution. LESSON" XXVI. Exercises in Articulation. z, as in zone. zeal, rouse, has, Zion, zephyr, was. 1. Rouse, ye Romans, rouse ! 2. The zephyr breathes calmly. 3. Zion, the joy of all the earth. 4. He hath reached the zenith of his glory. 5. The zeal of thy house hath eaten me up. moderate Force. Moderate is the degree of Force ranging from the mild to the more earnest conversational tones. To cultivate the Moderate Force practice the following sounds, words, and elements, repeating each six times, beginning with the most Subdued Force and gradually increasing, but retaining the pitch with which each is begun. It is not necessary to begin each separate ex- ercise with the same pitch, but simply to retain the pitch throughout with which you begin. It would be well to vary the key with each sound or word or sen- tence, so as to widen the compass of voice as much as possible. The primary object of the exercise is to increase the force on any key without changing the pitch. Every voice should have power to increase force at pleasure on two octaves at least. DIAGRAM OP SUBDUED AND MODERATE FORCE. Moderate Force. 143 EXERCISES For cultivating Subdued and Moderate Force. 1. a, as heard in ale. 2. 8, u " me. 3. I, " " ice. 4. 6, " old. on, stand, lamb, awake, arise, rouse. 1. Rome must be free. 2. Where sleep the brave ? 3. I come not here to talk. EXERCISES Combining Fcrm, Quality, and Moderate Force. Repeat the sounds, words, and sentences with 1. Effusive Form, Pure Tone, Moderate Force. (First Degree.) 2. Expulsive Form, Pure Tone, Moderate Force. (Second Degree.) 3. Effusive Form, Orotund, Moderate Force. (Third Degree.) 4. Expulsive Form, Orotund, Moderate Force. (Third Degree.) Moderate Force When Used. Moderate is the appropriate degree of Force com- bined with Pure Tone, Expulsive Form, for the expres sion of narrative, descriptive, didactic, imimpassioned thought; combined with the Orotund, Effusive Form, for the expression of the milder forms of sublimity, reverence, devotion, and adoration ; with the Orotund, Expulsive Form, for introductory and unimpassioned parts of speeches, sermons, and orations. 144 Science of Elocution. example : didactic thought. Moderate Force, Pure Tone, Expulsive Form. Modulation. LLOYD. 1. 'Tis not enough the voice be sound and clear, 'Tis modulation that must charm the ear. That voice all modes of passion can express Which marks the proper word with proper stress ; But none emphatic can that speaker call Who lays an equal emphasis on all. Some o'er the tongue the labored measures roll, Slow and deliberate as the parting toll; Point every stop, mark every pause so strong, Their words, like stage processions, stalk along. 2. All affectation but creates disgust, And e'en in speaking we may seem too just. In vain for them the pleasing measure flows Whose recitation runs it all to prose; Repeating what the poet sets not down, The verb disjointing from its favorite noun, While pause and break and repetition join To make a discord in each tuneful line. 3. Some placid natures fill the allotted scene With lifeless drawls, insipid and serene ; While others thunder every couplet o'er, And almost crack your ears with rant and roar More nature oft, and finer strokes are shown In the low whisper than tempestuous tone; And Hamlet's hollow voice and fixed amaze More powerful terror to the mind conveys Than he who, swollen with impetuous rage, Bullies the balky phantom of the stage. 4. He who in earnest studies o'er his part, Will find true nature cling about his heart. The modes of grief are not included all In the white handkerchief and mournful drawl ; Moderate Force. 145 A single look more marks the internal woe Than all the windings of the lengthened O ! Up to the face the quick sensation flies, And darts its meaning from the speaking eyes : Love, transport, madness, anger, scorn, despair, And all the passions of the soul are there. EXAMPLE: INTRODUCTORY AND UNTMPASSIONED. Moderate Force, Pure Tone, or Orotund, Expulsive Form. Appeal in Behalf of Ireland. S. S. PRENTISS. 1. Fellow-citizens: It is no ordinary cause that has brought together this vast assemblage on the present occasion. We have met, not to prepare ourselves for political contests ; we have met, not to celebrate the achievements of those gallant men who have planted our victorious standards in the heart of an enemy's country; we have assembled, not to respond to shouts of triumph from the West ; but to answer the cry of want and suffering which comes from the East. The Old World stretches out her arms to the New. The starving par- ent supplicates the young and vigorous child for bread. 2. There lies upon the other side of the wide Atlantic a beautiful island, famous in story and in song. Its area is not so great as that of the State of Louisiana, while its population is almost half that of the Union. It has given to the world more than its share of genius and of greatness. It has been prolific in statesmen, warriors, and poets. Its brave and gen- erous sons have fought successfully all battles but their own. In wit and humor it has no equal ; while its harp, like its his- tory, moves to tears by its sweet but melancholy pathos. 3. Into this fair region God. has seen fit to send the most terrible of all those fearful ministers that fulfill his inscrutable decrees. The earth has failed to give her increase. The com- mon mother has forgotten her offspring, and she no longer affords them their accustomed nourishment. Famine, gaunt and ghastly famine, has seized a nation with its strangling grasp. Unhappy Ireland, in the sad woes of the present, for- gets, for a moment, the gloomy history of the past. 10 146 Science of Elocution. 4. O it is terrible, that in this beautiful world which the good God has given us, and in which there is plenty for us all, men should die of starvation ! When a man dies of disease he alone endures the pain. Around his pillow are gathered sym- pathizing friends, who, if they cannot keep back the deadly messenger, cover his face and conceal the horrors of his visage as he delivers his stern mandate. In battle, in the fullness of his pride and strength, little recks the soldier whether the hissing bullet sings his sudden requiem, or the cords of life are severed by the sharp steel. 5. But he who dies of hunger wrestles alone, day by day, with his grim and relentless enemy. He has no friends to cheer him in the terrible conflict ; for if he had friends, how could he die of hunger? He has not the hot blood of the sol- dier to maintain him ; for his foe, vampire-like, has exhausted his veins. Famine comes not up, like a brave enemy, storming, by a sudden onset, the fortress that resists. Famine besieges. He draws his lines round the doomed garrison. He cuts off all supplies. He never summons to surrender, for he gives no quarter. 6. Alas, for poor human nature! how can it sustain this fearful warfare? Day by day the blood recedes, the flesh de- serts, the muscles relax, and the sinews grow powerless. At last the mind, which at first had bravely nerved itself against the contest, gives way under the mysterious influences which govern its union with the body. Then the victim begins to doubt the existence of an overruling Providence. He hates his fellow-men, and glares upon them with the longing of a cannibal ; and, it may be, dies blaspheming. 7. This is one of those cases in which we may without im- piety assume, as it were, the function of Providence. Who knows but that one of the very objects of this calamity is to test the benevolence and worthiness of us upon whom unlim- ited abundance is showered? In the name, then, of common humanity, I invoke your aid in behalf of starving Ireland. He who is able, and will not aid such a cause, is not a man, and has no right to wear the form. He should be sent back to Nature's mint, and re-issued as a counterfeit on humanity of Nature's baser metal. Moderate Fokce. 14/7 example : kevebence and devotion. Moderate Force, Orotund Quality, Effusive Form. God the True Source of Consolation. THOMAS MOORE. 1. O Thou who driest the mourner's tear, How dark this world would be, If, when deceived and wounded here, We could not fly to thee ! 2. The friends who in our sunshine live When winter comes, are flown ; And he who has but tears to give Must weep those tears alone. 3. But thou wilt heal the broken heart, Which, like the plants that throw Their fragrance from the wounded part, Breathes sweetness out of woe. 4. When joy no longer soothes or cheers, And e'en the hope that threw A moment's sparkle o'er our tears, Is dimmed and vanished too, 5. O who could bear life's stormy doom, Did not thy wing of love Come brightly wafting through the gloom, Our peace-branch from above ! 6. Then sorrow, touched by thee, grows bright With more than rapture's ray ; As darkness shows us worlds of light We never saw by day. Questions. 1. What is the topic of this lesson ? 2. Define Moderate Force. 3. Illustrate it. 4. Illustrate the difference between Subdued and Moderate Force. 148 Science of Elocution. 5. Should the exercises in Force be practiced always on the same pitch? 6. Explain and illustrate how the pitch should be varied. 7. When is Moderate Force combined with Pure Tone, Expulsive Form, appropriately employed ? 8. When with Effusive Form, Orotund ? 9. When with Expulsive Form, Orotund? DIAGRAM OF TWENTY-SIXTH LESSON. 1. Exercises J estu , re - I Breathm 2. Review Last Lesson. 3. Element Force. Position. Gesture. Breathin Articulation. 4. Topic Moderate Force. Definition. Illustration. Advantages. How Acquired. Class Exercises. Principles or when used. Examples. 5. Selections. " Modulation." " Appeal in Behalf of Ireland." "Gcd the True Source of Consolation." LESSOJST XXVII. Exercises in Articulation. zh, as in azure, pleasure, seizure, erasure treasure, composure. 1. The measure of man is mind. 2. Your pleasure shall be the law. 3. The treasures of the universe are his. 4. Not like those steps on heaven's azure. 5. The seizure was made according to law. Energetic Force. 149 Energetic Force. Energetic is that degree of Force heard in bold, ear- nest, excited conversation. Practice the following exercises, repeating each sound, word, and sentence nine times, increasing the force with each repetition, but retaining the same pitch with which each is begun. DIAGRAM OF SUBDUED, MODERATE, AND ENERGETIC FORCE. EXERCISES For Cultivating Subdued, Moderate, and Energetic Force. 1. a, as heard in ask. 2. a, " " add. 3. 6, a a on. 4. u, (i a up. sad, lend, > never, dissever. ask, over, 1. The war must go on. 2. Rouse, ye Romans, rouse ! 3. Forward the Light Brigade. EXERCISES Combining Form, Quality, Subdued, Moderate, and Energetic Force. Repeat each of the above sentences with 1. Effusive Form, Pure Tone, Subdued Force. 2. Effusive Form, Pure Tone, Moderate Force. 3. Effusive Form, Aspirate, Subdued Force. 4. Effusive Form, Orotund, Moderate Force. 5. Expulsive Form, Pure Tone, Moderate Force. 150 Science of Elocution. 6. Expulsive Form, Aspirate, Moderate Force. 7. Expulsive Form, Orotund, Moderate Force. 8. Effusive Form, Orotund, Energetic Force. 9. Expulsive Form, Pure Tone, Energetic Force. 10. Expulsive Form, Aspirate, Energetic Force. 11. Expulsive Form, Orotund, Energetic Force. 12. Explosive Form, Pure Tone, Energetic Force. Energetic Force When Used. The Energetic is the appropriate degree of Force, combined with Orotund, Effusive Form, for the expres- sion of profound sublimity, grandeur, reverence, adora- tion, and devotion; with Pure Tone, Expulsive and Explosive Forms, for the expression of Joy, gladness, and mirth ; with Orotund, Expulsive Form, for the delivery of strong, forcible, argumentative, senatorial, political, and judicial speeches, orations, and sermons. In the following selection the passages expressing sublimity, grandeur, and awe require a blending of the Orotund and Aspirate. EXAMPLE : DEEP SOLEMNITY, SUBLIMITY, AND AWE. Energetic Force, Orotund and Aspirate, Effusive Form. The Closing Year. PRENTICE. 1. 'Tis midnight's holy hour, and silence now Is brooding, like a gentle spirit, o'er The still and pulseless world. Hark ! on the winds The bell's deep tones are swelling 'tis the knell Of the departed year. No funeral train Is sweeping past ; yet, on the stream and wood, "With melancholy light, the moonbeams rest Like a pale, spotless shroud ; the air is stirred As by a mourner's sigh; and on yon cloud, That floats so still and placidly through heaven, The spirits of the seasons seem to stand, Energetic Force. 151 Young Spring, bright Summer, Autumn's solemn form, And Winter, with his aged locks, and breathe, In mournful cadences, that come abroad Like the far wind-harp's wild and touching wail, A melancholy dirge o'er the dead year, Gone from the earth forever. 2. Tis a time For memory and for tears. Within the deep, Still chambers of the heart, a specter dim, Whose tones are like the wizard voice of Time, Heard from the tomb of ages, points its cold And solemn finger to the beautiful And holy visions that have passed away, And left no shadow of their loveliness On the dead waste of life. That specter lifts The coffin-lid of Hope and Love And, bending mournfully above the pale, Sweet forms, that slumber there, scatters dead flowers O'er what has passed to nothingness. 3. The year Has gone, and with it many a glorious throng Of happy dreams. Its mark is on each brow, Its shadow in each heart. In its swift course It waved its scepter o'er the beautiful And they are not. It laid its pallid hand Upon the strong man and the haughty form Is fallen, and the flashing eye is dim. It trod the hall of revelry, where thronged The bright and joyous and the tearful wail Of stricken ones is heard, where erst the song And reckless shouts resounded. 4. It passed o'er The battle-plain, where sword and spear and shield Flashed in the light of midday and the strength Of serried hosts is shivered, and the grass, Green from the soil of carnage, waves above The crushed and moldering skeleton. It came, And faded like a wreath of mist at eve ; 152 Science of Elocution. Yet, ere it melted in the viewless air, It heralded its millions to their home In the dim land of dreams. 5. Remorseless Time ! Fierce spirit of the glass and scythe! what power Can stay him in his silent course, or melt His iron heart to pity? On, still on He presses, and forever. The proud bird, The condor of the Andes, that can soar Through heaven's unfathomable depths, or brave The fury of the northern hurricane, And bathe his plumage in the thunder's home, Furls his broad wings at night-fall, and sinks down To rest upon his mountain crag; but Time Knows not the weight of sleep or weariness, And night's deep darkness has no chain to bind His rushing pinions. 6. Revolutions sweep O'er earth, like troubled visions o'er the breast Of dreaming sorrow ; cities rise and sink, Like bubbles on the water; fiery isles Spring blazing from the ocean, and go back To their mysterious caverns ; mountains rear To heaven their bald and blackened cliffs, and bow Their tall heads to the plain; new empires rise, Gathering the strength of hoary centuries, And rush down like the Alpine avalanche, Startling the nations, and the very stars, Yon bright and burning blazonry of God, Glitter awhile in their eternal depths, And like the Pleiad, loveliest of their train, Shoot from the glorious spheres, and pass away, To darkle in their glorious spheres, and pass away. Time, the tomb-builder, holds his fierce career, Dark, stern, all-pitless, and pauses not Amid the mighty wrecks that strew his path, To sit and muse, like other conquerors, Upon the fearful ruin he has wrought. Eneegetic Force. 153 example : joy and gladness. Energetic Force, Pure Tone, Expulsive and Explosive Forms. Spring. BRYANT- 1. Is this a time to be gloomy and sad, When our mother Nature laughs around. When even the deep blue heavens look glad, And gladness breathes from the blossoming ground? 2. The clouds are at play in the azure space, And their shadows at play on the bright green vale ; And here they stretch to the frolic chase, And there they roll on the easy gale. 3. And looked at the broad-faced sun, how he smiles On the dewy earth that smiles on his ray, On the leaping waters and gay young isles ; Ay, look, and he'll smile thy gloom away. EXAMPLE : ARGUMENTATIVE AND ORATORICAL. Energetic Force, Orotund Quality, Expulsive Form. Responsibilities of our Republic. JOSEPH STORY. 1. The old world has already revealed to us, in its unsealed books, the beginning and end of all its own marvelous strug- gles in the cause of liberty. Greece, lovely Greece, "the land of scholars and the nurse of arms," where sister republics in fair procession chanted the praises of liberty and the gods, where and what is she ? For two thousand years the oppres- sion has bound her to the earth. Her arts are no more. The last sad relics of her temples are but the barracks of a ruthless soldiery; the fragments of her columns and her palaces are in the dust, yet beautiful in ruin. She fell not when the mighty were upon her. Her sons were united at Thermopylae and Marathon, and the tide of her triumph rolled back upon the Hellespont. She was conquered by her own factions. She fell by the hands of her own people. The man of Macedonia did not the work of destruction. It was already done, by her own corruptions, banishments, and dissensions. 154 Science of Elocution. 2. Rome, republican Rome, whose eagles glanced in the ris- ing and setting sun, where and what is she ? The Eternal City yet remains, proud even in her desolation, noble in her decline, venerable in the majesty of religion, and calm as in the composure of death. The malaria has but traveled in the patlr worn by her destroyers. More than eighteen centuries have mourned over the loss of her empire. A mortal disease was upon her vitals before Csesar had crossed the Rubicon. The Goths and Vandals and Huns, the swarms of the North, completed only what was already begun at home. Romans betrayed Rome. The legions were bought and sold, but the people offered the tribute-money. When we reflect on what has been and is, how is it possible not to feel a profound sense of the responsibleness of this republic to all future ages! What vast motives press upon us for lofty efforts! What brilliant prospects invite our enthusiasm ! What solemn warn- ings at once demand our vigilance and moderate our confidence ! Questions. 1. Define Energetic Force. 2. When combined with Orotund, Effusive Form, what styles of thought and feeling may be appropriately expressed? 3. What, when combined with Pure Tone, Expulsive and Explosive? 4. What, when wilh Orotund, Expulsive Form ? 5. With what other Qualities and Forms may it be combined ? DIAGRAM OF TWENTY-SEVENTH LESSON. ( Position. , __ J Gesture. 1. Exercises 1 Breathing. (_ Articulation. 2. Review Last Lesson. 3. Element Force. "Definition. Illustration. Advantages. How Acquired. Class Exercise. When Used. b Example. Selections. " Closing year." " Spring." " Responsibilities of our Republic." 4. Topic Energetic Force. Impassioned Force. 155 LESSON XXVIII. Exercises in Articulation. 1, as in lo. loud, long, leave, land, lend, fall. 1. Lo, the poor Indian! 2. Little lads looking about. 3. Learned lads like long lessons. 4. Leaves have their time to fall. 5. Leave me, leave me to die alone. Impassioned Force. Impassioned is the degree of Force heard in the ex- pression of violent and impetuous emotion. To cultivate Impassioned Force repeat each of the elements, words, and sentences twelve times, beginning with the mildest sound that can be given in Effusive Form, Pure Tone, Subdued Force, and gradually in- creasing with each repetition, retaining the same pitch as nearly as possible. DIAGRAM OF SUBDUED, MODERATE, ENERGETIC, AND IM- PASSIONED FORCE. MM EXERCISES For cultivating Impassioned Force. 1. o, as in old. 2. I, " ice. 3. ii, " use. 4. e, " me. 156 Science of Elocution. arm, down, stand, slaves, forward, liberty. 1. Come over, come over the river to me. 2. Hang out our banners on the outer walls. EXERCISES Combining Form, Quality, Subdued, and Impassioned Force. Repeat each of the above sounds, words, and sen- tences with 1. Effusive Form, Pure Tone, Subdued Force. 2. Expulsive Form, Orotund, Impassioned Force. 3. Effusive Form, Aspirate, Subdued Force. 4. Explosive Form, Pure Tone, Impassioned Force. 5. Effusive Form, Oral Quality, Subdued Force. 6. Expulsive Form, Falsetto, Impassioned Force. Impassioned Force When Used. Impassioned, when combined with Pure Tone or Oro- tund, Effusive or Expulsive Form, is the degree of force appropriate for calling and commanding ; with the Orotund, Expulsive and Explosive Forms, it is em- ployed in the utterance of rousing and exciting appeals ; with the Aspirate, Pectoral, and Guttural, Expulsive and Explosive Forms, in the expression of fear, anger \ threatening, scorn, defiance, revenge, etc. EXAMPLE : CALLING AND SHOUTING. Impassioned Force, Pure Tone or Orotund, Expulsive Form. Tell's Address to the Alps. J. S. KNOWLES. Ye crags and peaks, I'm with you once again ! I hold to you the hands you first beheld, To show they still are free. Methinks I hear A spirit in your echoes answer me, Impassioned Force. 157 And bid your tenant welcome to his home Again. O sacred forms, how proud you look ! How high you lift your heads into the sky ! How huge you are ! how mighty, and how free ! Ye are things that tower, that shine, whose smile Makes glad, whose frown is terrible, whose forms, Robed or unrobed, do all the impress wear Of awe divine. Ye guards of liberty, I'm with you once again ! I call to you With all my voice ! I hold my hands to you, To show they still are free. I rush to you As though I could embrace you. EXAMPLE : FEAR, EARNEST APPEAL, ANGER, THREAT- ENING, SCORN, AND DEFIANCE. Impassioned Force, Pure Tone, Orotund, Aspirate and Pectoral Qualities. Expulsive and Explosive Forms. The Polish Boy. MRS. ANN S. STEPHENS. 1. Whence came those shrieks, so wild and shrill, That like an arrow cleave the air, Causing the blood to creep and thrill With such sharp cadence of despair ? Once more they come ! as if a heart Were cleft in twain by one quick blow, And every string had voice apart To utter its peculiar woe ! 2. Whence came they ? From yon temple, where An altar raised for private prayer, Now forms the warrior's marble bed, Who Warsaw's gallant armies led. The dim funereal tapers threw A holy luster o'er his brow, And burnish with their rays of light The mass of curls that gather bright Above the haughty brow and eye Of a young boy that's kneeling by. 158 Science of Elocution. 3. What hand is that whose icy press Clings to the dead with death's own grasp, But meets no answering caress No thrilling fingers seek its clasp ? It is the hand of her whose cry Rang wildly late upon the air, When the dead warrior met her eye, Outstretched upon the altar there. 4. Now with white lips and broken moan She sinks beside the altar stone ; But hark ! the heavy tramp of feet Is heard along the gloomy street. Nearer and nearer yet they come, With clanking arms and noiseless drum. They leave the pavement. Flowers that spread Their beauties by the path they tread, Are crushed and broken. Crimson hands Rend brutally their blooming bands. Now whispered curses, low and deep, Around the holy temple creep. The gate is burst. A ruffian band Rush in and savagely demand, With brutal voice and oath profane, The startled boy for exile's chain. 5. The mother sprang with gesture wild, And to her bosom snatched the child ; Then with pale cheek and flashing eye, Shouted with fearful energy "Back, ruffians, back! nor dare to tread Too near the body of my dead ! Nor touch the living boy I stand Between him and your lawless band ! No traitor he. But listen I I Have cursed your master's tyranny. I cheered my lord to join the band Of those who swore to free our land, Or fighting die ; and when he pressed Me for the last time to his breast, Impassioned Force. 159, I knew that soon his form would be Low as it is, or Poland free. He went and grappled with the foe, Laid many a haughty Russian low ; But he is dead the good the brave And I, his wife, am worse a slave ! Take me, and bind these arms, these hands, With Russia's heaviest iron bands, And drag me to Siberia's wild To perish, if 'twill save my child ! " 6. "Peace, woman, peace!" the leader cried, Tearing the pale boy from her side ; And in his ruffian grasp he bore His victim to the temple door. 7. "One moment!" shrieked the mother, "one. Can land or gold redeem my son? If so, I bend my Polish knee, And, Russia, ask a boon of thee. Take palaces, take lands, take all, But leave him free from Russian thrall. Take these," and her white arms and hands She stripped of rings and diamond bands, And tore from braids of long black hair The gems that gleamed like star-light there; Unclasped the brilliant coronal And carcanet of Orient pearl ; Her cross of blazing rubies last Down to the Russian's feet she cast. 8. He stooped to seize the glittering store; Upspringing from the marble floor, The mother with a cry of joy Snatched to her leaping heart the boy! But no the Russian's iron grasp Again undid the mother's clasp. Forward she fell, with one long cry Of more than mother's agony. 160 Science of Elocution. 9. But the brave child is roused at length, And breaking from the Russian's hold, He stands, a giant in the strength Of his young spirit, fierce and bold. 10. Proudly he towers ; his flashing eye, So blue and fiercely bright, Seems lighted from the eternal sky, So brilliant is its light. His curling lips and crimson cheeks Foretell the thought before he speaks. With a full voice of proud command He turns upon the wondering band. 11. " Ye hold me not! no, no, nor can; This hour has made the boy a man. The world shall witness that one soul Fears not to prove itself a Pole. 12. "I knelt beside my slaughtered sire, Nor felt one throb of vengeful ire ; I wept upon his marble brow Yes, wept I was a child ; but now My noble mother on her knee, Has done the work of years for me. Although in this small tenement My soul is cramped unbowed, unbent, I've still within me ample power To free myself this very hour. This dagger in my heart ! and then, Where is your boasted power, base men? " He drew aside his broidered vest, And there, like slumbering serpent's crest, The jeweled haft of a poniard bright, Glittered a moment on the sight. "Ha! start ye back? Fool! coward! knave! Think ye my noble father's glave Could drink the life-blood of a slave? The pearls that on the handle flame Would blush to rubies in their shame ; Impassioned Force. 161 The blade would quiver in thy breast, Ashamed of such ignoble rest ! No ; thus I rend thy tyrant's chain, And fling him back a boy's disdain ! " 13. A moment, and the funeral light Flashed on the jeweled weapon bright; Another, and his young heart's blood Leaped to the floor a crimson flood. Quick to his mother's side he sprang, And on the air his clear voice rang * ' Up, mother, up ! I'm free ! I'm free ! The choice was death or slavery ; Up, mother, up ! look on my face, I only wait for thy embrace. One last, last word a blessing, one, To prove thou knowest what I have done ; No look ! no word ! Canst thou not feel My warm blood o'er thy heart congeal ? Speak, mother, speak lift up thy head. What, silent still? Then thou art dead! Great God, I thank thee ! Mother, I Rejoice with thee, and thus to die." Slowly he falls. The clustering hair Rolls back and leaves that forehead bare. One long, deep breath, and his pale head Lay on his mother's bosom } dead. Questions. 1. Define Impassioned Force. 2. When used with Pure Tone or Orotund, Expulsive or Effusive Form? 3. When, with Orotund, Expulsive and Explosive Forms ? 4. When, with Aspirate, Pectoral, or Guttural, Expulsive and Ex- plosive Forms? 11 162 Science of Elocution. DIAGRAM OP TWENTY-EIGHTH LESSON. {Position. fSSU Articulation. 2. Review Last Lesson. 3. Element Force. Definition. Illustration. Advantages. How Acquired. Class Exercises. When Used. Example. 5. Selections. "Tell's Address to the Alps." "The Polish Boy." 4. Topic Impassioned Force. LESSON XXIX. Exercises in Articulation. r, as in row. roam, r, river, 4 5 air. roast, near. 1. Real riches rise from within. 2. Robert rebuked Richard, who ran roaring. 3. Round the rude ring the ragged rascal ran. Rich, ripe, round fruit hung round the room. Rough and rugged rocks rear their heads high in STRESS. Stress is the application of the force of the voice to the different parts of the word or sound. The divisions of Stress are Median, Radical, Final, Compound, Thorough, and Intermittent. Median Stress. 163 median Stress. Median Stress is the application of the force of the voice to the ?niddle of the word or sound. It is a gradual increase of force and elevation of pitch through the concrete movement to the middle of the word, and then as gradual a diminution and lower- ing to the close. Median Stress can be given only in connection with the Effusive Form. DIAGRAM OP MEDIAN STRESS. Advantages of Median Stress. The Median Stress is one of the greatest beauties in expression. It prevents the drawling and lifeless style so prevalent in the reading of the Bible and the Church service, and gives a most impressive beauty, power, and grandeur to the utterance of pathos, sublimity, reverence, devotion, and adoration. Destitute of its ennobling effect, the reading of many passages in prose and poetry sinks into a monotonous and tedious utterance. Like every element, it must be judiciously used. Car- ried to excess it becomes a fault. The habit of mouth- ing, so prevalent on the stage, has for one of its prin- cipal elements an excessive Median Stress. To cultivate this Stress practice the following ele- ments, words, and sentences, beginning each with very subdued force, which gradually increase in force and raise in pitch to the middle, and then as gradually diminish and lower. 164 Science of Elocution. Exercises in Median Stress. 1. a, as heard in ale, fate. 2. a, u u arm, far. 3. a, a u ask, grass. 4. a, it (( all, talk. 5. 6, (C tt old, note. 6. 00, a ti moon, food. tolls, old, arm, father, palm, roll, prayer, slow. 1. O, a wonderful stream is the river Time. 2. Thou hast all seasons for thy own, O Death. 3. O thou that rollest above, round as the shield of my father. EXERCISES Combining Form, Quality, Force, and Median Stress. Repeat each of the above sentences with 1. Effusive Form, Pure Tone, Subdued Force, Me- dian Stress. 2. Effusive Form, Aspirate, Moderate Force, Median Stress. 3. Effusive Form, Orotund, Moderate Force, Median Stress. Median Stress When Used. Median is the appropriate stress for the utterance of pathos, solemnity, sublimity, reverence, grandeur, and devotion. It is heard in different degrees, varying with the depth and power of the emotion. Serious, solemn, and tranquil thought require only the milder forms of the Median; while reverence, grandeur, sublimity, and devotion require the fullest form. > Median Stress. 165 EXAMPLE : PATHOS AND SUBLIMITY. Median Stress, Moderate Force, Orotund Quality, Effusive Form. Break! Break! Break! TENNYSON. 1. Break, break^break, On thy cold gray stones, O sea l/ And I would that my tongue could utter The thoughts that arise in me. 2. O well for the fisherman's boy That he shouts with his sister at play, / O well for the sailor lad^ That he singsTn his boat on the bay ! 3. And the stately ships go on To their haven under the hill; But O for the touch of a vanished hand I Ahdthe sound of a voice that is still. \ 4. Break, breaj^ break,, At the foot of thy crags, O sea ! But the tender grace of a day that is dead Will never come back to me. Questions. 1. What is the element in this le&son ? 2. Define Stress. 3. How many kinds of Stress are there ? Name them. 4. Defiae Median Stress. 5. Illustrate it. 6. "With what form can it be given ? 7. What are its advantages ? 8. What is the difference between Effusive Form, and Effusive Form Median Stress ? 166 Science of Elocution. DIAGRAM OP LESSON TWENTY-NINTH. 1. Exercises. 2. Review Force of Voice. C Definition. 3. Element Stress -I Divisions [ Illustrations. 3* Topic Median Stress, 4. Selection. "Break! Break! Break! Position. Gesture. Breathing. Articulation. Median. Radical. Final. Compound. Thorough. b Intermittent. Definition. Illustration. Advantages. How Acquired. Class Exercise. When used. Example. LESSON XXX. Exercises in Articulation. m, as in moon, morn, move, man, arm, farm, harm. 1. More than mortal man may be. 2. Many men are misled by fame. 3. Mile-stones mark the march of time. 4. Much learning hath made thee mad. 5. Mournfully they march to the martial music. Radical Stress. Hadical Stress is the application of the force of the voice to the first part of a vocal sound (vocal as dis- tinguished from ubvocal or Aspirate), or the first vocal Eadical Stress. 167 part of the accented syllable of a word. It is heard only in connection with the Expulsive or Explosive Form of voice. The clear and forcible Radical Stress can take place only after an interruption of the voice. It would seem as if there is some momentary occlusion in the larynx, by which the breath is barred and accumulated for the purpose of a full and sudden discharge. This occlusion is most under command, and the explosion is most powerful, on syllables beginning with a tonic element, or with an abrupt one preceding a tonic, for in this last case an obstruction in the organs of articulation is com- bined with the function of the larynx. Advantages of Radical Stress. Radical Stress is one of the most important proper- ties of utterance. Without it reading and speaking of a didatic, narrative, descriptive, argumentative, and impassioned poetic style become dull and lifeless. The argumentative speaker who has not this property at command fails to produce conviction in the minds of his hearers. Dr. Rush says of the Radical Stress: "It is this which draws the cutting edge of words across the ear, and startles even stupor into attention; this which less- ens the fatigue of listening, and outvoices the stir and rustle of an assembly." Murdoch and Russell say: "The utter absence of Radical Stress bespeaks timidity and indecision, confu- sion of thought, and feebleness of purpose. The speaker who fails in regard to the effect of this property of utterance solicits our pity rather than commands our respect. The right degree of this function indicates the manly, self-possessed speaker." 168 Science of Elocution. The following cuts indicate to the eye Expulsive Form with and without the Radical Stress. The Rad- ical expends the full force of the voice on the first part. DIAGRAM EXPULSIVE FORM WITHOUT RADICAL, STRESS. EXPULSIVE FORM WITH RADICAL STRESS. To cultivate the Radical Stress, practice the following elements, words, and sentences in the Expulsive and Explosive Forms, first with Pure Tone, then with Oro- tund, in the Moderate, Energetic, and Impassioned degrees of Force. In this exercise be careful to expend the full force of the voice upon the first part of the word or sound. Exercises in Radical Stress. 1. a, as heard in add, fat. 2. e, u u end, met. 3. h a tt ill, fin. 4. o, it a odd, not. 5. u, n us, tub. add, end, orb, all, ease, isle, inch, use. oil, up, on, aid. 1. Paul Revere was a rider bold. 2. Out of the North the wild news came. 3. Talk to the point, and stop when you reach it. Radical Stress. 169 exercises Combining Form, Quality, Force, and Radical Stress. Repeat the sentences in last exercise with 1. Expulsive Form, Pure Tone, Moderate Force, Radical Stress. 2. Expulsive Form, Orotund Quality, Energetic Force, Radical Stress. 3. Explosive Form, Orotund, Impassioned Force, Radical Stress. Radical Stress When Used. The Radical Stress is heard in various degrees. In its milder form it is the Stress appropriate for the de- livery of narrative, descriptive, and didatic thought in the style of essays, lectures, and sermons; in a more en- ergetic form it is appropriate for the utterance of argu- mentative speeches and orations ; and in its most im- passioned form for the expression of intense feeling and emotion, as anger, scorn, defiance, etc. EXAMPLE: ANIMATED NABBATION AND DESCKIP- TION. Radical Stress, Energetic Force, Pure Tone, Expulsive Form. The Ride of Jennie McNeaL WILL CARLETON. 1. Paul Revere was a rider bold, Well has his valorous deeds been told ; Sheridan's ride was a glorious one, Often it has been dwelt upon ; But why should men do all the deeds On which the love of a patriot feeds ? Hearken to me, while I reveal The dashing ride of Jennie McNeal. 2. On a spot as pretty as might be found In the dangerous length of the Neutral Ground, 170 Science of Elocution. In a cottage cozy, and all their own, She and her mother lived alone. Safe were the two, with their frugal store, From all the many who pass'd their door ; For Jennie's mother was strange to fears, And Jennie was large for fifteen years : With vim her eyes were glistening, Her hair was the hue of a blackbird's wing, And, while her friends who knew her well The sweetness of her heart could tell, A gun that hung on the kitchen wall Look'd solemnly quick to heed her call ; And they who were evil-minded knew Her nerve was strong and her aim was true. So all kind words and acts did deal To generous, black-eyed Jennie McNeal. 3. One night, when the sun had crept to bed, And rain-clouds linger'd overhead, And sent their surly drops for proof To drum a tune on the cottage roof, Close after a knock at the outer door There enter'd a dozen dragoons or more. Their red coats, stain'd by the muddy road, That they were British soldiers show'd: The captain his hostess bent to greet, Saying, " Madam, please give us a bit to eat; We will pay you well, and, it may be, This bright-eyed girl for pouring our tea; Then we must dash ten miles ahead, To catch a rebel colonel a-bed. He is visiting home, as doth appear ; We will make his pleasure cost him dear." And they fell on the hasty supper with zeal, Close-watch'd the while by Jennie McNcal. 4. For the gray hair'd colonel they hover'd near Had been her true friend, kind and dear; And oft, in her younger days, had he Right proudly perch'd her upon his knee, Eadical Stress. 171 And told her stories many a one Concerning the French war lately done. And oft together the two friends were, And many the arts he had taught to her ; She had hunted by his fatherly side, He had shown her how to fence and ride; And once had said, " The time may be, Your skill and courage may stand by me." So sorrow for him she could but feel, Brave, grateful-hearted Jennie MdSTeal. With never a thought or a moment more, Bare-headed she slipp'd from the cottage door, Ran out where the horses were left to feed, Unhitch'd and mounted the captain's steed, And down the hilly and rock-strewn way She urged the fiery horse of gray. Around her slender and cloakless form Patter'd and moan'd the ceaseless storm : Secure and tight a gloveless hand Grasp'd the reins with stern command; And full and black her long hair stream'd, Whenever the ragged lightning gleam'd. And on she rush'd for the colonel's weal, Brave, lioness-hearted Jennie McNeal. Hark ! from the hills, a moment mute, Came a clatter of hoofs in hot pursuit ; And a cry from the foremost trooper said, "Halt ! or your blood be on your head ! " She heeded it not, and not in vain She lash'd the horse with the bridle rein ; So into the night the gray horse strode ; His shoes hew'd fire from the rocky road ; And the high-born courage that never dies Flash'd from his rider's coal-black eyes ; The pebbles flew from the fearful race ; The rain-drops grasp'd at her glowing face. " On, on, brave beast! " with loud appeal, Cried eager, resolute Jennie MoNeal. 172 Science of Elocution. " Halt! " once more came the voice of dread; " Halt! or your blood be on your head ! " Then, no one answering to the calls, Sped after her a volley of balls. They pass'd her in her rapid flight, They scream'd to her left, they scream'd to her right; But, rushing still o'er the slippery track, She sent no token of answer back, Except a silvery laughter peal, Brave, merry-hearted Jennie McNeal. 7. So on she rush'd at her own good will, Through wood and valley, o'er plain and hill : The gray horse did his duty well, Till all at once he stumbled and fell, Himself escaping the nets of harm, But flinging the girl with a broken arm. Still undismay'd by the numbing pain, She clung to the horse's bridle rein, And gently bidding him to stand, Petted him with her able hand ; Then sprung again to the saddle bow, And shouted, u One more trial now ! " As if ashamed of the heedless fall, He gather'd his strength once more for all, And, galloping down a hill-side steep, Gain'd on the troopers at every leap ; No more the high-bred steed did reel, But ran his best for Jennie McNeal. 8. They were a furlong behind or more, When the girl burst through the colonel's door, Her poor arm helpless hanging with pain, And she all drabbled and drench'd with rain, But her cheeks as red as fire-brands are, And her eyes as bright as a blazing star, And shouted, " Quick! be quick, I say! They come ! they come ! away ! away ! " Then sunk on the rude white floor of deal Poor, brave, exhausted Jennie McNeal. Radical Stress. 173 The startled colonel sprung, and press'd The wife and children to his breast, And turn'd away from his fireside bright, And glided into the stormy night ; Then soon and safely made his way To where the patriot army lay. But first he bent in the dim fire-light, And kiss'd the forehead broad and white, And blessed the girl who had ridden so well To keep him out of a prison cell. The girl roused up at the martial din, Just as the troopers came rushing in, And laugh'd e'en in the midst of a moan, Saying, "Good sirs, your bird has flown: 'Tis I who have scared him from his nest ; So deal with me now as you think best. " But the grand young captain bow'd, and said, " Never you hold a moment's dread: Of womankind I must crown you queen ; So brave a girl I have never seen : Wear this gold ring as your valor's due; And when peace comes I will come for you." But Jennie's face an arch smile wore, As she said, ' ' There's a lad in Putnam's corps, Who told me the same, long time ago; You two would never agree, I know : I promised my love to be true as steel," Said good, sure-hearted Jennie McNeal. Questions. 1. Define Radical Stress. 2. With what Forms of voice can it be given ? 3. Describe the position and action of the vocal organs in the pro- duction of Radical Stress. 4. Mention some of the advantages of Radical Stress. 5. What does Dr. Rush say of it ? What Murdock and Russell ? 6. When should Radical Stress be used ? T. What is the difference between Expulsive Form and Radical Stress? 174 Science of Elocution. 8. What between Explosive Form and Radical Stress ? (The seventh and eighth questions are not directly answered in the book.) 9. Why does the selection require Radical Stress ? 10. Why Energetic Force ? 11. Why Pure Tone? 12. Why Expulsive Form ? 13. What words in the selection require Explosive Form? Whyi 14. What require Aspirate Quality ? Yfhy ? DIAGRAM OF THIRTIETH LESSON. f Position. Exercises 2. Review Median Stress. 3. Element Stress. j Gesture. 1 Breathing. L Articulation. 4. Topic Radical Stress. Definition. Illustration. Advantages. How Acquired. Class Exercise. When Used. (^ Example. 5. Selection. " The Ride of Jennie McNeal. LESSOIST XXXI. Exercises in Articulation. n, as in no. noon, now, name, man, ran, won. 1. No nation need despair. 2. No man knows the future. 3. Name not the gods, thou boy of tears. 4. Now none so poor to do him reverence. 5. Napoleon's noble nature knew no niggardly notions. Final Stbess. 175 Final Stress. The Final Stress is the application of the force of the voice to the last part of the word or sound. The force, at first but slight, is gradually increased, until it closes in an abrupt and violent sound. In its effect on the ear it is not unlike the report of a pistol when it hangs fire. DIAGRAM OF FINAL STRESS. Advantages op Final Stress. It is the Final Stress that gives intensity to deter- mined purpose, earnest resolve, stern rebuke, and manly protest. Without this element they become feeble and contemptible. To acquire control of this style of Stress practice the elements and words as directed. Repeat each of the ele- ments, beginning with a slight sound, which gradually increase, and close with an abrupt and forcible utterance. Exercises in Final Stress. 1. e, as heard in me, see. 2. a, " " ale, pale. 3. a, " " air, fair. 4. h * " ice, fine. 5. u, " " use, tube. slave, wretch, coward, villain, revenge, defiance. 176 Science of Elocution. 1. Thou slave! thou wretch! thou coward ! 2. Independence now and independence forever. 3. Live or die, survive or perish, I am for the decla- ration. 4. Let the consequences be what they may, I am de- termined to proceed. EXERCISES Combining Form, Quality, Force, Final and Radical Stress. Repeat the first and second of the above sentences with 1. Expulsive Form, Orotund Quality, Energetic Force, Final Stress. 2. Expulsive Form, Orotund Quality, Energetic Force, Radical Stress. Repeat the third of the above sentences with 1. Expulsive Form, Orotund and Aspirate Qualities, Energetic Force, Final Stress. 2. Expulsive Form, Aspirate Quality, Impassioned Force, Final Stress. Repeat the fourth sentence with 1. Expulsive Form, Pectoral Quality, Impassioned Force, Final Stress. 2. Explosive Form, Guttural Quality, Impassioned Force, Final Stress. Final Stress When Used. The Final Stress is employed in the expression of de- termined purpose, earnest resolve, stern rebuke, contempt, astonishment, horror, revenge, hate and similar passions. It is always combined with the Expulsive or Explosive Form of Voice, and, in the expression of violent passion, with the Aspirate, Pectoral, or Guttural Quality. Final Stress. 177 EXAMPLE: HATE, DETERMINED PURPOSE, SCORN, AND DISGUST. Final Stress, Energetic and Impassioned Force, Orotund, Aspirate, and Pectoral Qualities, Expulsive Form. Hate of the Bowl. 1. Go, feel what I have felt ; Go, bear what I have borne ; Sink 'neath the blow a father dealt, And the cold world's proud scorn: Then suffer on from year to year, Thy sole relief the scalding tear. 2. Go, kneel as I have knelt ; Implore, beseech, and pray; Strive the besotted heart to melt, The downward course to stay; Be dashed with bitter curse aside, Your prayers burlesqued, your tears defied. 3. Go, weep as I have wept O'er a loved father's fall, See every promised blessing swept, Youth's sweetness turned to gall ; Life's fading flowers strewed all the way That brought me up to woman's day. 4. Go, see what I have seen ; Behold the strong man bow, "With gnashing teeth, lips bathed in blood, And cold and livid brow. Go catch his withering glance, and see There mirrored, his soul's misery. 5. Go to thy mother's side, And her crushed bosom cheer; Thine own deep anguish hide ; Wipe from her cheek the bitter tear; Mark her wan cheek and pallid brow, The gray that streaks her dark hair now, 12 178 Science of Elocution. Her failing frame and trembling limb ; And trace the ruin back to him Whose plighted faith, in early youth, Promised eternal love and truth ; But who, forsworn, hath yielded up That promise to the cursed cup; And led her down, through love and light, And all that made her prospects bright; And chained her there, 'mid want and strife, That lowly thing, a drunkard's wife ; And stamped on childhood's brow so mild, That withering blight, a drunkard's child ! 6. Go, hear and feel and see and know All that my soul hath felt and known; Then look upon the wine-cup's glow, See if its beauty can atone ; Think if its flavor you will try, When all proclaim, 'Tis drink and die ! 7. Tell me I hate the bowl Hate is a feeble word ; I loathe, abhor ; my very soul With strong disgust is stirred Whene'er I see, or hear, or tell Of the dark beverage of hell. Questions. 1. Define Final Stress. 2. Mention some of its advantages. 3. What styles of thought and feeling are expressed with the Final Stress? 4. Why does the selection require Final Stress ? 5. Why Pectoral Quality? Final Stress. 179 DIAGRAM OF THIRTY-FIRST LESSON f Position. 1. Exercises < 2. Review Radical Stress. 3. Element Stress. 4. Topic Final Stress. 5. Selection. " Hate of the Bowl." Gesture. Breathing. Articulation. Definition. Illustration. Advantages. How Acquired- Class Exercises. When Used. w Examples. LESSON XXXII. Exercises in Articulation. ng, as in sing. wing, ring, bring, thing, learning, rising. 1. Long may it wave. 2. Dying, we will assert it. 3. Living, we will maintain it. 4. Bring flowers, sweet flowers. 5. Standing on the confines of another world. Compound Stress. Compound Stress is the application of the force to the first and last parts of the word, passing over the inter- mediate parts lightly. Advantages of Compound Stress. The Compound Stress gives intensity to the utterance of surprise, contempt, mockery, railery, and sarcasm. "The use of this style of Stress belongs appropriately 180 Science of Elocution. to feelings of peculiar force or acuteness; but on this very account it becomes an indispensable means of nat- ural expression and true effect in many passages of reading and speaking. The difference between vivid and dull or flat utterance will often turn on the exact- ness with which this expressive function of voice is exerted." To cultivate this form of Stress practice the following words and sentences, giving the force of the voice to the first and last parts of each word. Exercises in Compound Stress. gone, heaven, married, canopy, traitor, convicted. 1. Gone to be married. 2. Banished from Rome. 3. Tried and convicted traitor ! exercises Combining Form, Quality, Force, and Compound Stress. Repeat each of the above sentences with 1. Expulsive Form, Pectoral Quality, Energetic Force, Compound Stress. 2. Expulsive Form, Orotund Quality, Moderate Force, Final Stress. Compound Stress When Used. The Compound is appropriately employed in the ex- pression of surprise, contempt, and mockery, and some- times of sarcasm and railery. There are few if any selections that will require Com- pound Stress throughout. The following scene from Hamlet is presented as containing several fine examples. The passages requiring the Compound Stress are printed in italics. Compound Stress. 181 EXAMPLE. Compound and Radical Stress, Energetic Force, Orotund, Pure Tone, and Pectoral, Expulsive Form. Scene from Hamlet. Act iii. Scene iv. SHAKESPEARE. Pol. He will come straight. Look, you lay home to him : Tell him his pranks have been too broad to bear with ; And that your grace hath screened and stood between Much heat and him. I'll sconce me even here. Pray you, be round with him. Queen. I'll warrant you Fear me not. Withdraw, I hear him coming. Enter Hamlet. 17am. Now, mother, what's the matter ? Queen. Hamlet, thou hast thy father much offended. Earn. Mother, you have my father much offended. Queen. Come, come, you answer with an idle tongue. Ham. Go, go, you question with a wicked tongue. Queen. Why, how now, Hamlet ? Ham. What's the matter now ? Queen. Have you forgot me ? Ham. No, by the rood, not so ; You are the queen, your husband's brother's wife ; And would it were not so ! you are my mother. Queen. Nay, then, I'll set those to you that can speak. Ham. Come, come, and sit you down; you shall not budge; You go not, till I set you up a glass Where you may see the inmost part of you. Queen. What wilt thou do ? Thou wilt not murder me ! Help, help, ho! Pol. What, ho! help! Ham. How now ! a rat ? Dead, for a ducat, dead Pol. O ! O ! O ! I am slain. Queen. O, me ! what hast thou done ? Ham. Nay, I know not : Is it the king ? 182 Science of Elocution. Queen. O, what a rash and bloody deed is this ! Ham. A bloody deed; almost as bad, good mother, As kill a king, and marry with his brother. Queen. As kill a king t Ham. Ay, lady, 'twas my word. Thou wretched, rash, intruding fool, farewell ! I took thee for thy better. Leave wringing of your hands : Peace sit you down, And let me wring your heart : for so I shall, If it be made of penetrable stuff; If damned custom have not brazed it so, That it be proof and bulwark against sense. Queen. What have I done, that thou dar'st wag thy tongue In noise so rude against me ? Ham. Such an act, That blurs the blush and grace of modesty ; Calls virtue, hypocrite ; takes off the rose From the fair forehead of an innocent love, And sets a blister there ; makes marriage vows As false as dicers' oaths. O ! such a deed, As from the body of contraction plucks The very soul ; and sweet religion makes A rhapsody of words Ah, me ! that act ! Queen. Ah, me ! what act ? Ham. Look here, upon this picture, and on this ; The counterfeit presentment of two brothers. See, what a grace was seated on this brow Hyperion's curls ; the front of Jove himself ; An eye like Mars, to threaten and command ; A station like the herald Mercury, New-lighted on a heaven-kissing hill; A combination, and a form, indeed, Where every god did seem to set his seal, To give the world assurance of a man : This was your husband. Look you now, what follows : Here is your husband ; like a mildewed ear, Blasting his wholesome brother. Have you eyes ? Could you on this fair mountain leave to feed, And batten on this moor ? Ha ! have you eyes ? Compound Steess. 183 You cannot call it love : for, at your age, The hey-day in the blood is tame, it's humble, And waits upon the judgment and what judgment, Would step from this to this ? O, shame ! where is thy blush ? Queen. O, Hamlet, speak no more ; Thou turn'st mine eyes into my very soul ; And there I see such black and grained spots, As will not leave their tinct. No more, sweet Hamlet. Ham. A murderer, and a villain : A slave, that is not twentieth part the tythe Of your precedent lord : a vice of kings ; A cutpurse of the empire and the rule ; That from a shelf the precious diadem stole, And put it in his pocket ! Enter Ghost. A king of shreds and patches : Save me, and hover o'er me with your wings, You heavenly guards! what would your gracious figure? Queen. Alas ! he's mad. Ham. Do you not come your tardy son to chide, That, lapsed in time and passion, lets go by The important acting of your dread command ? O, say ! Ghost. Do not forget : this visitation Is but to whet thy almost blunted purpose. But, look ! amazement on thy mother sits : O, step between her and her fighting soul. Speak to her, Hamlet. Ham. How is it with you, lady ? Queen. Alas ! how is't with you ? That you do bend your eye on vacancy, And with the incorporal air do hold discourse ! O, gentle son, Upon the heat and flame of thy distemper Sprinkle cool patience. Whereon do you look ? Ham. On him ! on him ! Look you, how pale he glares ! His form and cause conjoined, preaching to stones, 184 Science of Elocution. Would make them capable. Do not look upon me ; Lest, with this piteous action, you convert My stern effects : then what I have to do Will want true color ; tears, perchance, for blood. Queen. To whom do you speak this ? Ham, Do you see nothing there ? Queen. Nothing at all ; yet all that is I see. Ham. Nor did you nothing hear ? Queen. No, nothing, but ourselves. Ham. Why, look you there ! look how it steals away ! My father, in his habit as he lived ! Look where he goes, even now, out at the portal ! Queen. This is the very coinage of your brain ; This bodiless creation ecstasy Is very cunning in. Ham. Ecstasy ! My pulse, as yours, doth temperately keep time, And makes as healthful music : it is not madness That I have uttered : bring me to the test, And I the matter will re-word ; which madness Would gambol from. Mother, for love of grace, Lay not that flattering unction to your soul, That not your trespass, but my madness, speaks: It will but skin and film the ulcerous place ; Whiles rank corruption, mining all within, Infects unseen. Confess yourself to heaven ; Repent what's past ; avoid what is to come. Queen. O, Hamlet! thou hast cleft my heart in twain. Ham. O ! throw away the worser part of it, And live the purer with the other half. Good night! And when you are desirous to be blessed, I'll blessing beg of you. For this same lord, I do repent. I will bestow him, and will answer well The death I gave him. So, again, good-night ! I must be cruel, only to be kind: Thus bad begins, and worse remains behind. Compound Stress. 185 Questions. 1. What is the element in this lesson? 2. "What the topic? 3. Define Compound Stress. 4. What the principle ? 5. Why do the passages marked require Compound Stress? 6. What quality of voice should Hamlet use ? Why ? 7. What the queen ? Why ? 8. What Polonius ? Why ? 9. What the ghost ? Why ? 10. Draw a diagram of this lesson. LESSON XXXIII. Exercises in Articulation. w, as in wit. was, wise, wild, weed, weld, wear. 1. Weep not for me. 2. Wild was the night. 3. Wise men will rule well. 4. When wisdom shall return. 5. Well have they done their part. Thorough Stress. Tliorough Stress is the application of the force of the voice equally to all parts of the word or sound. It can be given with both Effusive and Expulsive Forms. Advantages of Thorough Stress. Thorough Stress is one of the most powerful weapons of oratory. Its effect, when judiciously used with Ex- pulsive Form, Orotund Quality, Impassioned Force, is magical. It rouses the feelings, kindles the emotions, 186 Science of Elocution. and stirs the very soul of an audience. With Effusive Form, Pectoral Quality, it intensifies the expression of awe and dread. To cultivate this element of expression practice the elements, words, and sentences with all the force you can command in the Orotund Expulsive. Exercises in Thorough Stress. 1. o, as heard in no, go. 2. a, " " ale, pale. 3. a, " " arm, farm. 4. I, " " ice, fine, arm, home, come, awake, arise, shout. 1. Forward, the Light Brigade. 2. Princes, potentates, warriors. 3. Awake! arise! or be forever fallen! exercises Combining Form, Quality, Force, and Tliorough Stress. Repeat the above sentences with 1. Expulsive Form, Pure Tone, Energetic Force, Thorough Stress. 2. Expulsive Form, Orotund, Impassioned Force, Thorough Stress. Thorough Stress When Used. Thorough Stress is appropriately employed in the ex- pression of rapture, joy \ exultation, lofty command, in- dignant emotion, oratorical apostrophe, and virtuous indignation ; and sublimity and grandeur when mingled with awe and dread. This selection does not require Thorough Stress throughout, nor does any one selection require exactly the same combinations of elements throughout, else the Thorough Steess. 187 utterance would be monotonous ; but as the sentiment changes so the combination must be varied. It is this constant change of combinations that requires the exer- cise of taste and judgment. Much of this selection will require Expulsive Form, Pure Tone, Moderate or Energetic Force, and Radical Stress. Only the last two stanzas require the combination given below. EXAMPLE. Thorough Stress. Energetic and Impassioned Force, Orotund Quality, Expulsive Form. The Launching of the Ship. H. W. LONGFELLOW. 1. " Build me straight, O worthy master! Stanch and strong, a goodly vessel, That shall laugh at all disaster, And with wave and whirlwind wrestle ! " 2. The merchant's word, Delighted, the master heard ; For his heart was in his work, and the heart Giveth grace unto every art : And, with a voice that was full of glee, He answered, " Ere long we will launch A vessel as goodly and strong and stanch As ever weathered a wintry sea ! " 3. All is finished ! and at length Has come the bridal day Of beauty and of strength : To-day the vessel shall be launched ! With fleecy clouds the sky is blanched; And o'er the bay, Slowly, in all his splendors dight, The great Sun rises to behold the sight. 4. The ocean old, Centuries old, Strong as youth, as uncontrolled, Paces restless to and fro, Up and down the sands of gold. 188 Science of Elocution. His beating heart is not at rest ; And far and wide, With ceaseless flow, His beard of snow Heaves with the heaving of his breast : He waits impatient for his bride. 5. There she stands, With her foot upon the sands, Decked with flags and streamers gay, In honor of her marriage-day, Her snow-white signals fluttering, blending, Round her like a veil descending, Ready to be The bride of the gray old sea. 6. Then the master, With a gesture of command, Waved his hand ; And at the word Loud and sudden there was heard, All around them and below, The sound of hammers, blow on blow, Knocking away the shores and spurs : And see ! she stirs ! She starts she moves she seems to feel The thrill of life along her keel, And, spurning with her feet the ground, With one exulting, joyous bound, She leaps into the ocean's arms ! 7. And, lo ! from the assembled crowd There rose a shout, prolonged and loud, That to the ocean seemed to say, " Take her, O bridegroom, old and gray ; Take her to thy protecting arms, With all her youth and all her charms! " 8. How beautiful she is! how fair She lies within those arms that press Her form with many a soft caress Of tenderness and watchful care! Thorough Stress. 189 Sail forth into the sea, O ship ! Through wind and wave right onward steer! The moistened eye, the trembling lip, Are not the signs of doubt or fear. 9. Thou, too, sail on, O ship of State ! Sail on, O Union, strong and great ! Humanity, with all its fears, With all the hope of future years, Is hanging breathless on thy fate ! We know what Master laid thy keel, What workmen wrought thy ribs of steel, Who made each mast and sail and rope, What anvils rang, what hammers beat, In what a forge, and what a heat, Were shaped the anchors of thy hope ! 10. Fear not each sudden sound and shock; 'Tis of the wave, and not the rock ; 'Tis but the flapping of the sail, And not a rent made by the gale ! In spite of rock and tempest's roar, In spite of false lights on the shore, Sail on, nor fear to breast the sea! Our hearts, our hopes, are all with thee ; Our hearts, our hopes, our prayers, our tears, Our faith triumphant o'er our fears, Are all with thee are all with thee ! Questions. 1. Define Thorough Stress. 2. With what Forms can it be given ? 3. What are the advantages of Thorough Stress? 4. With what Combinations may it be given ? 5. When is it appropriately employed ? 6. Why does the selection require Thorough Stress ? 7. How much of it should be given with Thorough Stress ? 190 Science of Elocution. 8. With what combination should the last three lines of the sixth stanza be given ? 9. With what the first three ? 10. Why? 11. Which stanzas specially require Thorough Stress? 12. What other elements do they require ? LESSON XXXIV. Exercises in Articulation. y, as in yet. you, year, yard, yawn, yellow, youth. 1. Year after year our blessings continue. 2. Yonder comes the powerful king of day. 3. Yield, madman, yield; thy horse is down. 4. Yield to mercy while 'tis offered to you. 5. " Yet I say unto you, That even Solomon in all his glory was not arrayed like one of these." Intermittent Stress. The Intermittent Stress is a tremulous emission of the voice from the organs. It can be given both with the Effusive and Expulsive Forms. Intermittent Stress Advantage of. The Intermittent Stress gives a vivid and touching expression to utterance, for the absence of which nothing can atone. " Without its appeal to sympathy, and its peculiar power over the heart, many of the most beau- tiful and touching passages of Shakespeare and Milton become dry and cold." Intermittent Stress. 191 To acquire control of this style of Stress practice the elements, words, and sentences with a short, quick, broken utterance. Exercises IN Intermittent Stress. 1. e, as heard in me, see. 2. a, tt " ale, pale. 3. a, a " add, sad. 4. a, a talk, all. 5. o, (( " old, bold. o, die, door, old, man, store. 1. O I have lost you all. 2. And, mother, don't you cry. 3. Pity the sorrows of a poor old man. EXERCISES Combining Form, Quality, Force, and Intermittent Stress. Repeat first and second of the above sentences with 1. Effusive Form, Pure Tone, Subdued Force, Inter- mittent Stress. Repeat the third of the above sentences with 2. Expulsive Form, Pectoral Quality, Energetic Force, Intermittent Stress. Intermittent Stress When Used. The Intermittent Stress is appropriately used in the expression of all emotions attended with a weakened con- dition of the bodily organs, such as feebleness from age, exhaustion, fatigue, sickness, and grief. It is also ap- propriate in the expression of extreme tenderness and ecstatic joy. 192 Science of Elocution. EXAMPLE : OLD AGE AND FEEBLENESS. Intermittent Stress, Energetic Force, Pectoral Quality, Expulsive Form. [It is hardly necessary to say that only the words of the old man require the above nibinationJ On the Shores of Tennessee. ETHEL L. BEERS. 1. " Move my arm-chair, faithful Pompey, In the sunshine bright and strong, For this world is fading, Pompey, Massa wont be with you long; And I fain would hear the south wind Bring once more the sound to me, Of the wavelets softly breaking On the shores of Tennessee. 2. "Mournful though the ripples murmur As they still the story tell, How no vessels float the banner That I've loved so long and well. I shall listen to their music, Dreaming that again I see Stars and stripes on sloop and shallop Sailing up the Tennessee. 3. " And, Pompey, while old massa's waiting For Death's last dispatch to come, If that exiled starry banner Should come proudly sailing home, You shall greet it, slave no longer Voice and hand shall both be free That shout and point to Union colors On the waves of Tennessee." 4. ' ' Massa's berry kind to Pompey ; But ole darkey's happy here, Where he's tended corn and cotton For dese many a long-gone year. Over yonder missis' sleeping No one tends her grave like me. Mebbe she would miss the flowers She used to love in Tennessee. 13 Intermittent Stress. 193 5. " 'Pears like she was watching massa If Pompey should beside him stay, Mebbe she'd remember better How for him she used to pray : Telling him that way up yonder "White as snow his soul would be, If he served the Lord of heaven While he lived in Tennessee." 6. Silently the tears were rolling Down the poor old dusky face As he stepped behind his master, In his long accustomed place. Then a silence fell around them As they gazed on rock and tree Pictured in the placid waters Of the rolling Tennessee. 7. Master, dreaming of the battle Where he fought by Marion's side, When he bid the haughty Tarlton Stoop his lordly crest of pride. Man, remembering how yon sleeper Once he held upon his knee, Ere she loved the gallant soldier, Ralph Yervair, of Tennessee. 8. Still the south wind fondly lingers 'Mid the veteran's silver hair ; Still the bondman close beside him Stands behind the old arm-chair. With his dark-hued hand uplifted, Shading eyes, he bends to see Where the woodland boldly jutting Turns aside the Tennessee. 9. Thus he watches cloud-born shadows Glide from tree to mountain-crest, Softly creeping, ay and ever To the river's yielding breast. 194 Science of Elocution. Ha ! above the foliage yonder Something flutters wild and free ! "Massa ! massa! hallelujah ! The flag's come back to Tennessee ! * 10. "Pompey, hold me on your shoulder, Help me stand on foot once more, That I may salute the colors As they pass my cabin door. Here's the paper signed that frees you, Give a freeman's shout with me 1 God and Union ! * be our watch-word Evermore in Tennessee. " 11. Then the trembling voice grew fainter, And the limbs refused to stand ; One prayer to Jesus aud the soldier Glided to the better land. When the flag went down the river Man and master both were free, While the ring-dove's note was mingled With the rippling Tennessee. Questions. 1. Define Intermittent Stress. 2. With what Form can it be given? 3. What are its advantages ? 4. Illustrate it. 5. When is it properly used? 6 Which stanzas in the selection in this lesson require Intermittent Stress? 7. Why do they require this Stress ? 8. What combination does the fourth stanza require? 9. What the seventh? Why? Pitch. 195 LESSON XXXV. Exercises in Articulation. p, as in pin. pipe, page, pope, poem, pop, press. 1. Prove all things. 2. Perish my name! 3. Pickwick Papers, part first. 4. Pictures of palaces please the eye. 5. Poverty and pride are poor companions. PITCH. Pitch is the place on the musical scale on which sound is uttered. Every sound, whether produced by the vocal organs of man, bird, or beast, or by natural or mechan- ical means, has some Pitch. We speak of the low tones of the organ, the high notes of the fife, the low growl of the wild animal, the high notes of the birds, as famil- iarly as of the deep base or the high tenor tones. Pitch in elocution differs materially from Pitch in music. In the former it is relative, in the latter abso- lute; that is, if two persons read the same selection, they need not have the same Pitch upon the musical scale, and yet both be correct ; but if they sing the same tune, they must illustrate the same notes. In music the Pitch is fixed by the scale, and the notes must be given with the utmost accuracy; in elocution each individual's voice is his own guide. To require pupils in elocution to read on the same Pitch would be as incorrect as to require the pupils of a music class to sing in different keys. 196 Science of Elocution. Teachers of elocution make no greater mistake than that of requiring all pupils to take the same key. Voices differ so much that what is Low Pitch for one may be simply middle for another. Nothing in the practice of elocution is more offensive to a cultivated taste than the ridiculous efforts of pupils to imitate some favorite ieacher's tones. It cannot be too firmly impressed upon the minds of pupils that in Pitch each voice is its own guide. If, however, the voice, from some external cause, has been changed from its natural key, it should as soon as possible be restored. Again, Pitch in elocution differs from Pitch in music in the manner of passing from one division or note to another. In elocution the changes are generally by the concrete movement or glides, in music by the discrete or steps. That which is an excellence in elocution is an error in music; that which is an accomplishment in singing is a fault in reading or recitation. To pass with measured accuracy from one word to another in elocu- tionary efforts is drawling and intolerable ; to glide into the notes in singing is dragging and disagreeable. Hence persons who sing a great deal are not likely to read or speak well, because they have become accus- tomed to the discrete movement; and those who prac- tice elocution are rarely successful singers. Music and elocution, though not incompatible, are rarely combined in a high degree of excellence in the same person. Indeed, it is a significant fact that in all ages of the world those who have excelled as readers, actors, or orators have been singularly deficient in musical tal- ents and attainments, and those who have been dis- tinguished singers have not been applauded for their oratorical efforts. Exercises in elocution may strengthen the singing voice, and practice in vocal Pitch. 197 music may give sweetness and purity to the speaking tones, but further than this they are not mutual helpers. No one should be deterred from the study of elocution because he cannot illustrate the notes of the scale or distinguish Yankee Doodle from Old Hundred. To read well it is not necessary that you should sing even the simplest tune. Advantages op Pitch. Both in music and elocution perfect control of Pitch is essential. Without it there can be no natural, pleas- ing, or impressive utterance. More public speakers fail from an incorrect use of Pitch than from any other cause. Often the voice rises to a high, unnatural tone, nearly an octave above the natural key or that which the sentiment demands, and upon this unpleasant tone the utterance is continued until the voice is injured and the hearers wearied. But again, control of Pitch is important because different tones express and awaken different thoughts and emotions. The Author of our being has so attuned our natures that a low, deep tone suggests reverence or devotion, High Pitch joyous feelings, the middle key unimpassioned thought, and the lowest tones awe and dread. To properly express these emotions the Pitch must be varied at pleasure. Divisions of Pitch. Instead of the eight exact notes in music, elocution presents five general divisions of Pitch: Very High, High, Middle, Low, and Very Low. These divisions are not limited to any particular notes of the scale, but vary in compass with different voices, some being lim- ited to a single octave, while others range over three or four. Each voice is its own guide, and from the Middle Pitch all the other divisions are determined. 198 Science of Elocution. Middle Pitch. Middle Pitch may be defined as the three, four, or five notes over which the voice naturally and easily ranges in ordinary conversation. To cultivate Middle Pitch practice the following sounds, words, and sentences upon the conversation or natural key. Exercises in Middle Pitch. 1. a, as heard in ale, pale. 2. a, " " add, fat. 3. a, " " air, pair. 4. a, " " far, palm. 5. a, " " ask, dance. 1. Speak the speech as I pronounced it to you. 2. Talk to the point, and stop when you reach it. 3. A voice soft and sweet as a tune one loves. exercises Combining Form, Quality, Force, Stress, and Middle Pitch. Repeat each of the above sentences with Expulsive Form, Pure Tone, Moderate Force, Rad- ical Stress, and Middle Pitch. Middle Pitch When Used. The Middle Pitch is the appropriate key for the de- livery of narrative, didactic, and descriptive thought in the form of scientific and literary lectures, introductions to speeches, orations, and sermons. EXAMPLE : DIDACTIC THOUGHT. Middle Pitch, Radical Stress, Moderate Forte, Pure Tone, Expulsive Form. Cheerfulness. 1. There is no one quality that so much attaches man to his fellow-man as cheerfulness. Talents may excite more respect, and virtue more esteem, but the respect is apt to be distant Middle Pitch. 199 and the esteem cold. It is far otherwise with cheerfulnesss. It endears a man to the heart, not the intellect or the imagina- tion. There is a kind of reciprocal diffusiveness about this quality that recommends its possessor by the very effect it produces. There is a mellow radiance in the light it sheds on all social intercourse which pervades the soul to a depth that the blaze of intellect can never reach. 2. The cheerful man is a double blessing a blessing to himself and to the world around him. In his own character his good nature is the clear blue sky of his own heart, on which every star of talent shines out more clearly. To others he carries an atmosphere of joy and hope and encouragement wherever he moves. His own cheerfulness becomes infectious, and his associates lose their moroseness and their gloom in the amber-colored light of the benevolence he casts around him. 3. It is true that cheerfulness is not always happiness. The face may glow in smiles while the heart "runs in coldness and darkness below," but cheerfulness is the best external indica- tion of happiness that we have, and it enjoys this advantage over almost every other good quality, that the counterfeit is as valuable to society as the reality. It answers as a medium of public circulation fully as well as the true coin. 4. A man is worthy of all praise, whatever may be his pri- vate griefs, who does not intrude them on the happiness of his friends, but constantly contributes his quota of cheerfulness to the general public enjoyment. " Every heart knows its own bitterness," but let the possessor of that heart take heed that he does not distill it into his neighbor's cup, and thus poison his felicity. 5. There is no sight more commendable and more agreeable than a man whom we know fortune has dealt with badly smothering his own peculiar griefs in his own bosom, and doing his duty in society with an unruffled brow and a cheer- ful mien. It is duty which society has a right to demand a portion of that great chain which binds humanity together, the links of which every one should preserve bright and unsullied. 6. It may be asked, what shall that man do whose burdens of grief are heavy, and made still heavier by the tears he has 200 Science of Elocution. shed over them in private ; shall he leave society ? Certainly, until he has learned to bear his own burden. Shall he not seek the sympathy of his friends ? He had better not. Sym- pathy would only weaken the masculine strength of mind which enables us to endure. Besides, sympathy unsought for is much more readily given, and sinks deeper in its healing effects into the heart. No, no, cheerfulness is a duty which every man owes. Let him faithfully discharge the debt. Questions. 1. Define Pitch. 2. "What is said with reference to the Pitch of sounds ? 3. "What is the difference between Pitch in elocution and Pitch in music? 4. Explain the discrete and concrete movements of the voice. 5. "What is our guide in Pitch in music ? 6. What in elocution ? 7. Should pupils in reading in concert have the same key? "Why? 8. Are persons who read or speak well generally good singers? "Why? 9. Are elocution and music mutual helpers ? 10. If you cannot sing should you be discouraged from studying elocution ? 11. What is said of the importance of control of Pitch? 12. Mention some of the emotions expressed and awakened by the different divisions of Pitch. 13. What are the divisions of Pitch in elocution ? 14. Are they fixed or flexible ? 15. What is the guide in Pitch in elocution ? In music ? 16. How are the different divisions ascertained? 17. Define Middle Pitch. 1 8. Is it the same in all voices ? 19. When is Middle Pitch used? 20. Why does the selection require Middle Pitch ? Middle Pitch. 201 DIAGRAM OF THIRTY-FIFTH LESSON. 1. Exercises. 2. Element Pitch. f Position, j Gesture, j Breathing. [ Articulation. ' Very High. High. Middle. Low. Very Low. 'Definition. Illustration. Advantages. Topic Middle Fitch -{ How Acquired. Class Exercise. When Used. b Example. 4. Selection. "Cheerfulness." T Definition. 1 Divisions I Illustration. LESSON XXXVI. Exercises in Articulation. t, as in tip. top, tap, test, tent, tight, tartar. 1. Time and tide wait for no man. 2. Tar, tin, tallow, and turpentine. 3. Touch not, taste not, handle not. 4. Turn their uprooted trunks toward the skies. 5. Tremble and totter, ye adamantine mountains. Low Pitch. Low Pitch will be the two, three, or four notes below the middle. To widen the compass and to cultivate the low tones, practice the following sounds, words, and sen- tences on a low key, in both Effusive and Expulsive Forms. 202 Science of Elocution. Exercises in Low Pitch. 1. o, as in no. 2. a, u ale. 3. a, father. 4. e, K me. 5. u, (( use. arm, old, orb, moon, palm, ocea 1. There is no God but thee. 2. It is a religion by which to live. 3. The tears of a nation fall over the dead. EXERCISES Combining Form, Quality, Force, Stress, and Low Pitch. Repeat the first of the above sentences with 1. Expulsive Form, Pure Tone, Moderate Force, Rad- ical Stress, and Low Pitch. The second and third sentences with 2. Effusive Form, Orotund Quality, Energetic Force, Median Stress, Low Pitch. Low Pitch When Used. Low Pitch is the key appropriate for the delivery of serious, solemn, pathetic, grave, devotional, sublime and grand thoughts of a quiet and unimpassioned character. EXAMPLE : SOLEMN, PATHETIC, AND GRAND. Low Pitch, Median and T/wrough Stress, Moderate Force, Orotund Quality, Expulsive and Effusive Forms. In Memoriam A. Lincoln. MRS. EMILY J. BUGBEE. 1. There's a burden of grief on the breezes of spring, And a song of regret from the bird on its wing; There's a pall on the sunshine and over the flowers, And a shadow of graves on these spirits of ours; Low Pitch. 203 For a star hath gone out from the night of our sky, On whose brightness we gazed as the war-cloud rolled by ; So tranquil and steady and clear were its beams, That they fell like a vision of peace on our dreams. 2. A heart that we knew had been true to our weal, And a hand that was steadily guiding the wheel ; A name never tarnished by falsehood or wrong, That had dwelt in our hearts like a soul-stirring song ; Ah, that pure, noble spirit has gone to its rest, And the true hand lies nerveless and cold on his breast: But the name and the memory, these never will die, But grow brighter and dearer as the ages go by. 3. Yet the tears of a nation fall over the dead. Such tears as a nation before never shed ; For our cherished one fell by a dastardly hand, A martyr to truth and the cause of the land ; And a sorrow has surged, like the waves to the shore, When the breath of the tempest is sweeping them o'er; And the heads of the lofty and lowly have bowed As the shaft of the lightning sped out from the cloud. 4 Not gathered, like Washington, home to his rest, When the sun of his life was far down in the west, But stricken from earth in the midst of his years, With the Canaan in view, of his prayers and his tears. And the people, whose hearts in the wilderness failed, Sometimes, when the stars of their promise had paled, $Tow stand by his side on the mount of his fame, And yield him their hearts in a grateful acclaim. 5. Yet there on the mountain our leader must die, With the fair land of promise spread out to his eye ; His work is accomplished, and what he has done Will stand as a monument under the sun ; And his name, reaching down through the ages of time, Will still through the years of eternity shine, Like a star sailing on through the depths of the blue, On whose brightness we gaze every evening anew. 8. His white tent is pitched on the beautiful plain, Where the tumult of battle comes never again, 204: Science of Elocution. Where the smoke of the war-cloud ne'er darkens the air, Nor falls on the spirit a shadow of care. The songs of the ransomed enrapture his ear, And he heeds not the dirges that roll for him here ; In the calm of his spirit, so strange and sublime, He is lifted far over the discords of time. 7. Then bear him home gently, great son of the West ! 'Mid her fair blooming prairies lay Lincoln to rest, From the nation who loved him she takes to her trust, And will tenderly garner the consecrate dust. A Mecca his grave to the people shall be, And a shrine evermore for the hearts of the free. Questions. 1. What is the element in this lesson? 2. What is the topic ? 3. What the principle ? 4. Define Low Pitch. 5. Is it the same in all voices ? 6. Explain why. 1. Why does the selection require Low Pitch ? 8. Why does the selection require both Median and Thorough Stress ? 9. Are they both on the same word ? 10. Explain how both Effusive and Expulsive Forms can be given in the selection. DIAGRAM OP THIRTY-SIXTH LESSON. f Position. , __ , i Gesture. 1. Exercises 1 Breathing. [ Articulation 2. Element Pitch. Definition. Illustration. Advantages. How Acquired. Class Exercises, When Used. Example. 4. Selection. " In Memoriam A. Lincoln." 3. Topic Low Pitch. High Pitch. 205 LESSON XXXVII. Exercises in Articulation. k, as in kick, kin, keel, keep, kink, kirk, king. 1. Kill a king. 2. Crown the victor. 3. Keep thy own counsels. 4. Kindness kills the cause of hate. 5. Come in consumption's ghastly form. High Pitch. High Pitch to ill be three, Jive, or eight notes above Middle Pitch. Practice the following sounds, words, and sentences on tones several notes higher than the Middle Pitch. Exercises in High Pitch. 1. e, as in let. 2. a, U add. 3. a, a ask. 4. o, a odd. 5. ii, c< up. come, joy, spring, winds, grass, waves. 1. And the landscape sped away behind. 2. I come, I come, ye have called me long. 3. And the earth resounds with the joy of waves. 206 Science of Elocution, exercises Combining Form, Quality, Force, Stress, High and Middle Pitch. Repeat each of the last sentences with 1. Expulsive Form, Pure Tone, Moderate Force, Radical Stress, High Pitch. 2. Explosive Form, Pure Tone, Energetic Force, Radical Stress, High Pitch. 3. Effusive Form, Pure Tone, Subdued Force, Median Stress, Low Pitch. High Pitch When Used. High Pitch is the key appropriate for the delivery of animated, joyous, gay, earnest, and impassioned thought. EXAMPLE : ANIMATED JOYOUS THOUGHT. High Pitch, Radical Stress, Energetic Force, Pure Tone, Expulsive and Explosive Forms. I'm With You Once Again. G. P. MORRIS. 1. I'm with you once again, my friends; No more my footsteps roam; Where it began my journey ends, Amid the scenes of home. No other clime has skies so blue, Or streams so broad and clear; And where are hearts so warm and true As those that meet me here? 2. Since last, with spirits wild and free, I pressed my native strand, I've wandered many miles at sea, And many miles on land : I've seen fair regions of the earth "With rude commotion torn, Which taught me how to prize the worth Of that where I was born. High Pitch. 307 3. In other countries, when I heard The language of my own, How fondly each familiar word Awoke an answering tone ! But when our woodland songs were sung Upon a foreign mart, The vows that faltered on the tongue With rapture filled my heart. 4. My native land, I turn to you With blessing and with prayer, Where man is brave and woman true, And free as mountain air. Long may our flag in triumph wave Against the world combined, And friends a welcome, foes a grave, Within our borders find. Questions. 1. Define High Pitch. 2. When is it appropriately employed? 3. With what combinations will it generally be found? 4. Can you have High Pitch with Effusive Form ? 5. Can you find an illustration in nature ? 6. Can you in art ? 7. What is the combination of the railroad whistle ? 8. What the neigh of a horse ? DIAGRAM OP THIRTY-SEVENTH LESSON. f" Position. 1 Exercises J Gesture - 1. exercises -j Breathing. [ Articulation. 2. Element Pitch. Definition. Illustration. Advantages. How Acquired. 3. Topic High Pitch. Class Exercises. Principle, or When Used. Examples. 4. Selection. " I'm With You Once Again." 208 Science of Elocution. LESSON XXXVIII. Exercises in Articulation. eh, as in church, choose, cheer, chat, chief, cherish, cherub. 1. Charge, Chester! charge! 2. Change cannot change thee. 3. Children choose trifling toys. 4. Chaucer's poetry charmed the chief. 5. Chaplets of chainless charity are for thee. Very Low Pitch. Very Low Pitch will be two or three tones below the lowest notes of the Low Pitch / the range in the lower notes being much less than in the High or Middle. To cultivate the Very Low Pitch practice the following sounds, words, and sentences in the lowest key possible. Exercises in Very Low Pitch. 1. 6, as in no. 2. a, " ace. 3. a, " father. 4. e, " me. 5. ii, " use. death, break, silence, dread, hollow, tones. 1. And thou art terrible. 2. Come in consumption's ghastly form. 3. No smiting hand is seen; no sound is heard. Very Low Pitch. 209 EXERCISES Combining Form, Quality, Force, Stress, and Pitch. Repeat each of the last sentences with 1. Effusive Form, Pectoral Quality, Energetic Force, Thorough Stress, Very Low Pitch. 2. Expulsive Form, Pure Tone, Energetic Force, Radical Stress, High Pitch. 3. Effusive Form, Orotund Quality, Moderate Force, Median Stress, Low Pitch. 4. Expulsive Form, Pure Tone, Moderate Force, Radical Stress, Middle Pitch. Very Low Pitch When Used. Very Low Pitch is the key appropriate for the ex- pression of deep solemnity, sublimity, grandeur, amaze- ment, horror, despair, melancholy, awe, and gloom. EXAMPLE : DEEP SOLEMNITY, AWE, AND GLOOM. Thorough Stress, Energetic Force, Orotund and Pectoral Qualities, Effusive and Expulsive Fottyis. [Only the fifth stanza in the following selection requires the combination given above, j Marco Bozzaris. FITZ GREENE HALLECK. 1. At midnight, in his guarded tent, The Turk lay dreaming of the hour When Greece, her knee in suppliance bent, Should tremble at his power ; In dreams, through camp and court he bore The trophies of a conqueror ; In dreams, his song of triumph heard ; Then wore his monarch's signet ring ; Then pressed that monarch's throne a king : As wild his thoughts, and gay of wing, As Eden's garden bird. 14 210 Science of Elocution. 2. At midnight, in the forest shades, Bozzaris ranged his Suliote band, True as the steel of their tried blades, Heroes in heart and hand. There had the Persian's thousands stood ; There had the glad earth drunk their blood, On old Plataea's day; And now there breathed that haunted air The sons of sires who conquered there, With arm to strike, and soul to dare, As quick, as far, as they. 3. An hour passed on : the Turk awoke : That bright dream was his last. He woke to hear his sentries shriek, " To arms! they come! the Greek! the Greek! " He woke, to die 'midst flame and smoke, And shout, and groan, and saber stroke, And death-shots falling thick and fast As lightnings from the mountain cloud, And heard, with voice as trumpet loud, Bozzaris cheer his band : "Strike! till the last armed foe expires; Strike ! for your altars and your fires ; Strike ! for the green graves of your sires ; God, and your native land ! " 4. They fought like brave men, long and well ; They piled that ground with Moslem slain; They conquered but Bozzaris fell, Bleeding at every vein. His few surviving comrades saw His smile when rang their loud hurrah, And the red field was won; Then saw in death his eyelids close, Calmly as to a night's repose, Like flowers at set of sun. 5. Com to the bridal chamber, Death ! Come to the mother, when she feels, For the first time, her first-born's breath; Come when the blessed seals Very Low Pitch. 211 That close the pestilence are broke, And crowded cities wail its stroke ; Come in consumption's ghastly form, The earthquake shock, the ocean storm ; Come when the heart beats high and warm With banquet song and dance and wine ; And thou art terrible : the tear, The groan, the knell, the pall, the bier, And all we know, or dream, or fear, Of agony, are thine. But to the hero when his sword Hath won the battle for the free, Thy voice sounds like a prophet's word. And in its hollow tones are heard The thanks of millions yet to be. Questions. 1. What is the element in this lesson? 2. What is the topic? 3. What is the principle ? 4. Define Very Low Pitch. 5. With what Qualities can it be given? 6. With what Forms. 7. When is the Very Low Pitch properly used ? 8. Why does the fifth stanza in the above selection require Very Low Pitch ? 9. What combination does the first stanz? require? 10. What combination does the fourth line of the third stanza require? 11. What combination do the three lines next to the last line of the third stanza require? 12. What does the last line of the third stanza require? No further diagrams on Pitch will be given, but teachers should require pupils to prepare them. 212 Science of Elocution. LESSON XXXIX. Exercises in Articulation. f, as in fame, fast, firm, fate, fatal, fearful, favor. 1. Fast bind, fast find. 2. Fortune favors the brave. 3. Firm is his faith, he falters not. 4. Fast by the throne fickle Fame resides. 5. Fasting he went to sleep, and fasting waked. Very High Pitch. Very High Pitch is five, six, or eight notes above the High. Practice the sounds, words, and sentences in as high a pitch as you can command. In this exercise be careful not to continue the practice too long, lest the voice may be strained and thus temporarily injured. Exercises in Very High Pitch. 1. J, as heard in ice. 2. e, a u me. 3. 6, ti u old. 4. a, u tt age. 5. Q, a (( up. lo, joy> mists, g> shout, freedom. 1. Hurrah ! hurrah ! hurrah ! 2. Quick ! man the life-boat ! B, Go ring the bells and fire the guns. Very High Pitch. 213 exercises Combining Form, Quality, Force, Stress, and Very High Pitch. Repeat the above sounds, words, and sentences with 1. Expulsive Form, Pure Tone, Impassioned Force, Thorough Stress, and Very High Pitch. 2. Expulsive Form, Orotund Quality, Impassioned Force, Thorough Stress, Very High Pitch. Very High Pitch When Used. Very High Pitch is the key appropriate for the expression of ecstatic joy, rapturous delight, impas- sioned shouting, calling, and commanding. exercises Illustrating various combinations of Fitch, Stress, Force, Quality, and Form. Repeat the sentence, " The world is full of poetry," with 1. Expulsive Form, Pure Tone, Moderate Force, Radical Stress, Middle Pitch. 2. Effusive Form, Aspirate Quality, Subdued Force, Thorough Stress, Low Pitch. 3. Explosive Form, Orotund Quality, Impassioned Force, Radical Stress, High Pitch. 4. Effusive Form, Pectoral Quality, Energetic Force, Thorough Stress, Low Pitch. 5. Expulsive Form, Aspirate Quality, Energetic Force, Final Stress, Low Pitch. 6. Effusive Form, Pure Tone, Subdued Force, Median Stress, Low Pitch. 7. Explosive Form, Falsetto Quality, Energetic Force, Radical Stress, Very High Pitch. 8. Expulsive Form, Guttural Quality, Impassioned Force, Final Stress, Low Pitch. 214 Science of Elocution. 9. Effusive Form, Oral Quality, Subdued Force, In- termittent Stress, Low Pitch. 10. Expulsive Form, Orotund Quality, Impassioned Force, Thorough Stress, High Pitch. Repeat the same sentence so it will express 1. Pathos. 2. Scolding. 3. Secret Thought. 4. Awe and Dread. 5. Didactic Thought. 6. Suppressed Command. 1. Calling or Commanding. 8. Sudden and Violent Alarm. 9. Great Weakness and Suffering. EXAMPLE: IMPASSIONED COMMAND AND ECSTATIC JOY. Very High Pitch, Thorough and Radical Stress, Impassioned Force, Pure Tone, Expulsive and Explosive Forms. "The Life-Boat." Quick ! man the life-boat ! See yon bark, That drives before the blast ! There's a rock ahead, the night is dark, And the storm comes thick and fast. Can human power, in such an hour, Avert the doom that's o'er her ? Her mainmast's gone, but she still drives on To the fatal reef before her. The life-boat ! Man the life-boat 1 Quick ! man the life-boat ! hark ! the gun Booms through the vapory air; And see I the signal flags are on, And speak the ship's despair. Very High Pitch. 215 That forked flash, that pealing crash, Seemed from the wave to sweep her ; She's on the rock, with a terrible shock And the wail comes louder and deeper. The life-boat ! Man the life-boat ! Quick ! man the life-boat ! See the crew Gaze on their watery grave : Already some, a gallant few, Are battling with the wave ; And one there stands, and wrings his hands, As thoughts of home come o'er him ; For his wife and child, through the tempest wild, He sees on the heights before him. The life-boat ! Man the life-boat ! Speed, speed the life-boat ! Off she goes ! And, as they pulled the oar, From shore and ship a cheer arose That startled ship and shore. Life-saving ark! yon fated bark Has human lives within her ; And dearer than gold is the wealth untold Thou'lt save if thou canst win her. On life-boat! Speed the life-boat! Hurrah! The life-boat dashes on, Though darkly the reef may frown; The rock is there the ship has gone Full twenty fathoms down. But, cheered by hope, the seamen cope With billows single-handed: They are all in the boat! hurrah! They're afloat! And now they are safely landed By the life-boat. Cheer the life-boat ! Hurrah ! Hurrah for the life-boat ! Questions. 1. Define Very High Pitch. Wheu is it used ? 2. Why does the selection require Very High Pitch ? 3. What combination does the first word of first stanza require? 4. What combination first word of last stanza? 216 Science of Elocution. LESSON XL. Exercises in Articulation. th, as in think, thick, thin, through, breath, hath, birth. 1. Thrust the thorn into the flesh. 2. Thick and thicker fell the hail. 3. Thanks to the thoughtful giver. 4. Through the thronged crowd he thrust his way. 5. Three thousand thistles were thrust through his thumb. MOVEMENT. Movement is the rate with which words and sentences are uttered. It includes not only the length of time occupied in the utterance of words, but the pauses between the words and sentences. It is really a com- bination of quantity and pauses. Advantages. Movement is an element of immense power and wonderful effect when properly employed. But it must be skillfully used. Every mood of mind, every variety of emotion, every burst of passion has its appropriate movement. Solemnity must move slowly, joy rapidly, argument moderately, and excitement hurriedly. This is indicated by the slow and measured step of the funeral march, the rapid movement of the merry dance, the firm but moderate step of the deter- mined army. Moderate Movement. 217 No defect sooner wearies the hearer or more cer- tainly kills the effect of expression than a drawling, lifeless movement, and continuous rapidity as certainly destroys all deep and impressive utterance. No ele- ment should be more carefully practiced than move- ment. The general divisions of this element are Very Rapid, Rapid, Moderate, Slow, and Very Slow. moderate Movement. Moderate is that rate used in ordinary conversation by persons who have not fallen into incorrect habits. It must not be understood that Moderate Movement is a fixed rate to which all persons must conform, but one that will vary with different temperaments. That which would be moderate for one may be slow for another. From Moderate Movement all the other divi- sions are determined. Exercise in movement may be practiced on sounds and words, but they can be better illustrated with sentences. Practice each of the fol- lowing sentences a number of times with a Moderate Movement in the following combination. Exercises in Moderate Movement. Middle Pitch, Radical Stress, Moderate Force, Pure Tone, Expulsive Form. 1. We will have rain to-night. 2. The true American patriot is ever a worshiper. 3. Speak the speech, I pray you, as I pronounced it to you. 4. I have been accused of ambition in presenting this measure. Moderate Movement When Used. Moderate Movement is appropriate for the delivery of narrative, didactic, and unimpassioned thought in the form of scientific and literary lectures and introductions to speeches. 218 Science of Elocution. EXAMPLE : DESCRIPTIVE AND DIDACTIC. Moderate Movement, Middle Pitch, Radical Stress, Moderate Force, Fure Tme, Expulsive Form. An Order for a Picture. Alice Cary. 1. O, good painter, tell me true, Has your hand the cunning to draw Shapes of things that you never saw ? Ay? Well, here is an order for you. 2. Woods and cornfields, a little brown The picture must not be over-bright, Yet all in the golden and gracious light Of a cloud when the summer sun is down. Alway and alway, night and morn, Woods upon woods, with fields of corn Lying between them, not quite sear, And not in the full, thick, leafy bloom, When the wind can hardly find breathing room Under their tassels cattle near, Biting shorter the short green grass, And a hedge of sumach and sassafras, With bluebirds twittering all around, (Ah, good painter, you can't paint sound !) These, and the house where I was born, Low and little, and black and old, With children, many as it can hold, All at the windows, open wide Heads and shoulders clear outside, And fair young faces all ablush : Perhaps you may have seen, some day, Roses crowding the self-same way, Out of a wilding, way-side bush. 3. Listen closer : When you have done With w T oods and cornfields and grazing herds, A lady, the loveliest ever the sun Looked down upon, you must paint for me; if I only could make you see Moderate Movement. 219 The clear blue eyes, the tender smile, The sovereign sweetness, the gentle grace, The woman's soul, and the angel's face, That are beaming on me all the while, I need not speak these foolish words: Yet one word tells you all I would say She is my mother : you will agree That all the rest may be thrown away. 4. Two little urchins at her knee You must paint, sir ; one like me, The other with a clearer brow, And the light of his adventurous eyes Flashing with boldest enterprise: At ten years old he went to sea God knoweth if he be living now: He sailed in the good ship Commodore ; Nobody ever crossed her track To bring us news, and she never came back. Ah, 'tis twenty long years and more Since that old ship went out of the bay With my great-hearted brother on her deck : I watched him till he shrank to a speck, And his face was toward me all the way. Bright his hair was, a golden brown, The time we stood at our mother's knee : That beauteous head, if it did go down, Carried sunshine into the sea! 5. Out in the fields one summer night We were together, half afraid Of the corn-leaves' rustling, and of the shade Of the high hills, stretching so still and far- Loitering till after the low little light Of the candle shone through the open door ; And over the haystack's pointed top, All of a tremble, and ready to drop, The first half-hour, the great yellow star, That we, with staring, ignorant eyes, Had often and often watched to see, Propped and held in its place in the skies 220 Science of Elocution. By the fork of a tall red mulberry-tree, Which close in the edge of our flax field grew > Dead at the top just one branch full Of leaves notched round, and lined with wool, From which it tenderly shook the dew Over our heads, when we came to play In its handbreadth of shadow, day after day. Afraid to go home, sir ; for one of us bore A nest full of speckled and thin-shelled eggs ; The other a bird held fast by the legs, Not so big as a straw of w r heat : The berries we gave her she wouldn't eat, But cried and cried, till we held her bill, So slim and shining, to keep her still. 6. At last we stood at our mother's knee. Do you think, sir, if you try, You can paint the look of a lie ? If you can, pray have the grace To put it solely in the face Of the urchin that is likest me : I think 'twas solely mine indeed : But that's no matter paint it so; The eyes of our mother (take good heed), Looking not on the nestful of eggs, Nor the fluttering bird held so fast by the legs, But straight through our faces down to our lies, And O, with such injured, reproachful surprise! I felt my heart bleed where that glance went as though A sharp blade stuck through it. 7. You, sir, know That you on the canvas are to repeat Things that are fairest, things most sweet Woods and cornfields and mulberry-tree The mother the lads, with their bird, at her knee: But O, that look of reproachful woe! High as the heavens your name I'll shout, If you paint me the picture and leave that out. Moderate Movement. 221 Questions. 1. What is the element in this lesson? 2. What the topic? 3. What the principle ? 4. Define movement. 5. Is it a simple or a compound element? 6. What is said of the importance of Movement ? 7. What of its improper use ? 8 What are the divisions of Movement ? 9. Define Moderate Movement. 10. Is it a fixed rate or does it vary with different persons? 11. With what combination will Moderate Movement generally be found ? 12. In the expression of what style of thought and feeling should we use Moderate Movement? 13. Why does the selection require Moderate Movement? 14. What elements should be changed in giving the seventh line of the fourth stanza ? Why ? 15. In the sixth and seventh stanzas what elements should be slightly changed ? DIAGRAM OP FORTIETH LESSON. 1. Exercises. f Position. J Gesture, j Breathing. I Articulation. C f Very Rapid. I Definition. | Rapid. 2. Element Movement. . . -I Divisions J. Moderate. Illustration. Slow. * I Very Slow. Definition. Illustration. Advantages. How Acquired Class Exercises When Used. Example. 4. Selection. " An Order for a Picture." 3. Topic Moderate Movement. 222 Science of Elocution. LESSON XLI. Exercise in Articulation. s, as in sound. sing, sour, sight, song, suns, systems. 1. Send us the Spirit of the Son. 2. See the stars from heaven falling. 3. Soldiers, sailors, seamen, all were lost. 4. Star after star from heaven's high arch shall rush. 5. Sans teeth, sans eyes, sans taste, sans every thing. Slow movement. Slow Movement may be defined as that rate in which words are uttered but little more than half as rapidly as Moderate Movement. Like the Moderate, it will vary greatly. It gives dignity, gravity, and solemnity to utterance. It can be given with various combinations. Exercises in Slow Movement. Low Pitch, Thorough Stress, Moderate Force, Oro- tund Quality, Effusive Form. 1. The groves were God's first temples. 2. He rests his head upon the lap of earth. 3. O'er all the world a solemn silence steals. Repeat the above sentences several times with 1. Slow Movement, Low Pitch, Median Stress, Mod- erate Force, Orotund Quality, Effusive Form. 2. Slow Movement, Low Pitch, Thorough Stress, Moderate Force, Pure Tone, Expulsive Form. Slow Movement. 223 Slow Movement When Used. Slow Movement is appropriate for the expression of solemn, serious, grave, and devotional thought. The first stanza of the following selection will require the first combination given below; the second, the second combination. In the remaining stanzas it will vary, some lines requiring one, some the other. EXAMPLE : SOLEMNITY, SUBLIMITY, AND DEVOTION. Expulsive Form, Pure Tone, Moderate Force, TJiorough Stress, Low Pitch, Slow Movement, Effusive Form, Orotund Quality, Median God's First Temples. W. C. BRYANT. The groves were God's first temples. Ere man learned To hew the shaft, and lay the architrave, And spread the roof above them, ere he framed The lofty vault, to gather and roll back The sound of anthems, in the darkling wood, Amidst the cool and silence, he knelt down And offered to the Mightiest solemn thanks And supplication. For his simple heart Might not resist the sacred influences That, from the stilly twilight of the place, And from the gray old trunks, that high, in heaven, Mingled their mossy boughs, and from the sound Of the invisible breath, that swayed at once All their green tops, stole over him, and bowed His spirit with the thought of boundless Power And inaccessible Majesty. Ah, why Should we, in the world's riper years, neglect God's ancient sanctuaries, and adore Only among the crowd, and under roofs That our frail hands have raised ? Let me, at least, Here, in the shadow of the ancient wood, Offer one hymn ; thrice happy if it find Acceptance in his ear. 224 Science of Elocution. 2. Father, thy hand Hath reared these venerable columns : thou Didst weave this verdant roof. Thou didst look down Upon the naked earth, and forthwith rose All these fair ranks of trees. They in thy sun Budded, and shook their green leaves in thy breeze, And shot toward heaven. The century-living crow, Whose birth was in their tops, grew old and died Among their branches, till at last they stood, As now they stand, massy and tall and dark, Fit shrine for humble worshiper to hold Communion with his Maker. 3. Here are seen No traces of man's pomp or pride ; no silks Rustle, no jewels shine, nor envious eyes Encounter ; no fantastic carvings show The boast of our vain race to change the form Of thy fair works. But thou art here ; thou fill'st The solitude. Thou art in the soft winds That run along the summits of these trees In music ; thou art in the cooler breath, That, from the inmost darkness of the place, Comes, scarcely felt ; the barky trunks, the ground, The fresh, moist ground, are all instinct with thee. Here is continual worship ; Nature here, In the tranquillity that thou dost love, Enjoys thy presence. Noiselessly around, From perch to perch the solitary bird Passes; and yon clear s]3ring, that, 'midst its herbs, Wells softly forth, and visits the strong roots Or half the mighty forest, tells no tale Of all the good it does. 4. Thou hast not left Thyself without a witness, in these shades, Of thy perfections. Grandeur, strength, and grace Are here to speak of thee. This mighty oak By whose immovable stem I stand, and seem Almost annihilated not a prince, In all the proud old world beyond the deep, Slow Movement. 225 Ere wore his crown as loftily as he Wears the green coronal of leaves with which Thy hand has graced him. Nestled at its root Is beauty such as blooms not in the glare Of the broad Sun. That delicate forest flower, With scented breath, that looks so like a smile, Seems, as it issues from the shapeless mold, An emanation of th' indwelling life, A visible token of the upholding love, That is the soul of this wide universe. fi. My heart is awed within me when I think Of the great miracle that still goes on, In silence round me the perpetual work Of thy creation, finished, yet renewed Forever. Written on thy works I read The lesson of thy own eternity. Lo! all grow old and die; but see, again, How, on the faltering footsteps of decay, Youth presses ever gay and beautiful Youth In all its beautiful forms. These lofty trees Wave not less proudly that their ancestors Molder beneath them. 6. O there is not lost One of earth's charms : upon her bosom yet, After the flight of untold centuries, The freshness of her far beginning lies, And yet shall lie. Life mocks the idle hate Of his arch enemy, Death ; yea, seats himself Upon the sepulcher, and blooms and smiles, And of the triumphs of his ghastly foe Makes his own nourishment. For he came forth From thine own bosom and shall have no end. 7. There have been holy men who hid themselves Deep in the woody wilderness, and gave Their lives to thought and prayer, till they outlived The generation born with them, nor seemed Less aged than the hoary trees and rocks Around them ; and there have been holy men Who deemed it were not well to pass life thus. 15 Science of Elocution. But let me often to these .solitudes Retire, and, in thy presence, re-assure My feeble virtue. Here, its enemies, The passions, at thy plainer footstep, shrink, And tremble, and are still. 8. O God, when thou Dost scare the world with tempests, set on fire The heavens with falling thunderbolts, or fill, With all the waters of the firmanent, The swift, dark whirlwind, that uproots the woods And drowns the villages; whe*n, at thy call, Uprises the great deep, and throws himself Upon the continent, and overwhelms Its cities ; who forgets not, at the sight Of these tremendous tokens of thy power, His pride, and lays his strifes and follies by? O, from these sterner aspects of thy face Spare me and mine; nor let us need the wrath Of the mad, unchained elements, to teach Who rules them. Be it ours to meditate, In these calm shades, thy milder majesty, And to the beautiful order of thy works Learn to conform the order of our lives. Questions. 1. Define Slow Movement. 2. When is it used ? 3. Why does the first part of the selection require Expulsive Form ? 4. Why Slow Movement ? 5. Do all the stanzas after the second require the Orotund Effu- sive? 6. What quality does the first part of the eighth stanza require ? Why? Slow Movement. 227 DIAGRAM OF FORTY-FIRST LESSON. 1. Review Last Lesson. {Position. Gesture. Breathing. Articulation. 3. Element Movement. f Definition. I Illustration. m m * J How Acquired 4. Topic-Slow Movement eering o'er his bounds? Be these sad signs confirmers of thy words? Then speak again ; not all thy former tale, But this one word, whether thy tale be true. King John. The Passions. 303 vexation. Vexation, besides expressing itself by the looks, gest- ures, tone, and restlessness of perplexity, adds to these complaint, fretting, and remorse. Vexation at Neglecting One's Duty. O what a rogue and peasant slave am I ! Is it not monstrous, that this player here, But in a fiction, in a dream of passion, Could force his soul so to his own conceit, That, from her working, all his visage wann'd ; Tears in his eyes, distraction in's aspect, A broken voice, and his whole function suiting "With forms to his conceit? And all for nothing? For Hecuba ! What's Hecuba to him, or he to Hecuba, That he should weep for her? Hamlet. SHAME. Shame turns away the face from the beholders, covers it with blushes, hangs the head, casts down the eyes, draws down and contracts the eyebrows. It either strikes the person dumb, or, if he attempts to say any thing in his own defense, causes his tongue to falter, confounds his utterance, and puts him upon mak- ing a thousand gestures and grimaces to keep himself in countenance ; all which only heighten his confusion and embarrassment. Shame at Being Convicted of a Crime. O my dread lord, I should be guiltier than my guiltiness, To think I can be undiscernible When I perceive your grace, like power divine, Hath looked upon my passes ; then, good prince, No longer session hold upon my shame, But let my trial be mine own confession : Immediate sentence, then, and sequent death, Is all the grace I beg. Measure for Measure. 304 Science of Elocution. gravity. Gravity, or seriousness, as when the mind is fixed, or deliberating on some important subject, smooths the countenance, and gives it an air of melancholy; the eye- brows are lowered, eyes cast downward, the mouth al- most shut, and sometimes a little contracted. The post- ure of the body and limbs is composed, and without much motion; the speech slow and solemn, the tone without much variety. Grave Deliberation on War and Peace. Fathers, we once again are met in council: Caesar's approach has summoned us together, And Rome attends her fate from our resolves. How shall we treat this bold aspiring man? Success still follows him and backs his crimes. Pharsalia gave him Rome. Egypt has since Received his yoke, and the whole Nile is Caesar's. Why should I mention Juba's overthrow, Or Scipio's death? Numidia's burning sands Still smoke with blood ; 'tis time we should decree What course to take : our foe advances on us, And envies us even Libya's sultry deserts. Fathers, pronounce your thoughts ; are they still fixed, To hold it out and fight it to the last? Or are your hearts subdued at length, and wrought, By time and ill-success, to a submission? Sempronius, speak. Addisorts Cato. Commanding. Commanding requires peremptory air, with a look a little severe or stern. The hand is held out and moved toward the person to whom the order is given, and sometimes it is accompanied by a nod of the head to the person commanded. If the com- mand be absolute, and to a person unwilling to obey, The Passions. 305 the right hand is extended and projected forcibly toward the person commanded. Commanding Combatants to Fight. We were born not to sue, but to command ; Which since we cannot do to make you friends, Be ready, as your lives shall answer it, At Coventry, upon St. Lambert's day ; There shall your swords and lances arbitrate The swelling difference of your settled hate. Since we cannot atone you, you shall see Justice decide the victor's chivalry. Lord Marshal, command our officers at arms Be ready to direct these home alarms. Richard II. 20 306 Science of Elocution. SELECTIONS. Duty of Literary Men to their Country. GRIMKE. 1. We cannot honor our country with too deep a reverence ; we cannot love her with an affection too pure and fervent ; we cannot serve her with an energy of purpose or a faithfulness of zeal too steadfast and ardent. And what is our country ? It is not the East, with her hills and her valleys, with her count- less sails and the rocky ramparts of her shores ; it is not the North, with her thousand villages, and her harvest-home, with her frontiers of the lake and the ocean; it is not the West, with her forest-sea and her inland isles, with her luxu- riant expanses, clothed in the verdant corn, with her beautiful Ohio and her majestic Missouri ; nor is it yet the South, opu- lent in the mimic snow of the cotton, in the rich plantations of the rustling cane and in the golden robes of the rice-field. What are these but the sister families of one greater, better, holier family our country ? 2. I come not here to speak the dialect or to give the coun- sels of the patriot-statesman ; but I come, a patriot scholar, to vindicate the rights and to plead for the interests of American literature. And be assured that we cannot, as patriot-schol- ars, think too highly of that country, or sacrifice too much for her. And let us never forget let us rather remember with a religious awe that the union of these States is indispensable to our national independence and civil liberties, to our prosperity, happiness, and improvement. 3. If, indeed, we desire to have a literature like that which has sculptured with such energy of expression, which has painted so faithfully and vividly, the crimes, the vices, the follies of ancient and modern Europe if we desire that our land should furnish for the orator and the novelist, for the Oratorical Style. 307 painter and the poet, age after age, the wild and romantic scenery of war ; the glittering march of armies and the revelry of the camp ; the shrieks and blasphemies and all the horrors of the battle-field ; the desolation of the harvest and the burn- ing cottage ; the storm, the sack, and the ruin of cities if we desire to unchain the furious passions of jealousy and selfish- ness, of hatred, revenge, and ambition, those lions that now sleep harmless in their dens ; if we desire that the lake, the river, the oceans should blush with the blood of brothers; that the wind should waft from the land to the sea, from the sea to the land, the roar and the smoke of the battle, that the very mountain-tops should become altars for the sacrifice of brothers ; if we desire that these and such as these the ele- ments to a certain extent of the literature of the Old "World should be the elements of our literature ; then, but then only, let us hurl from its pedestal the majestic statue of our Union, and scatter its fragments over all our land. 4. But if we covet for our country the noblest, purest, holiest literature the world has ever seen, such a literature as shall honor God and bless mankind a literature whose smiles might play upon an angel's face, whose tears " would not stain an angel's cheek," then let us cling to the union of these States with a patriot's love, with a scholar's enthusiasm, with a Christian's hope. In her heavenly character, as a holocaust self- sacrificed to God; at the height of her glory, as the orna- ment of a free, educated, peaceful, Christian people. American literature will find that the intellectual spirit is her very tree of life, and the Union her garden of paradise. Napoleon Bonaparte. 1. He is fallen! We may now pause before that splendid prodigy which towered among us like some ancient ruin, whose frown terrified the glance its magnificence attracted. Grand, gloomy, and peculiar, he sat upon his throne, a scep- tered hermit, wrapt in the solitude of his own originality. A mind bold, independent and decisive ; a will despotic in its dictates; an energy that distanced expedition and a con- 308 Science of Elocution. science pliable to every touch of interest marked the outline of this extraordinary character; the most extraordinary, per- haps, that in the annals of this world ever rose or reigned or fell. 2. Flung into life in the midst of a revolution that quick- ened every energy of a people who acknowledge no superior, he commenced his course, a stranger by birth, and a scholar by charity. With no friend but his sword, and no fortune but his talents, he rushed into the lists where rank and wealth and genius had arrayed themselves, and competition fled from him as from the glance of destiny. He knew no motive but inter- est, acknowledged no criterion but success, worshiped no God but ambition, and, with an Eastern devotion, he knelt at the shrine of his idolatry. 3. Subsidiary to this there was no creed that he did not profess there was no opinion that he did not promulgate. In the hope of a dynasty he upheld the Crescent ; for the sake of a divorce he bowed before the Cross; the orphan of St. Louis, he became the adopted child of the Republic, and with a parricidal ingratitude, on the ruins both of the throne and tribune, he reared the throne of his despotism. A professed Catholic, he imprisoned the pope; a pretended patriot, he impoverished the country; and, in the name of Brutus, he grasped without remorse and wore without shame the diadem of the Caesars ! Through this pantomime of policy fortune played the clown to his caprices. At his touch crowns crumbled, beggars reigned, systems vanished, the wildest theories took the color of his whim, and all that was venerable and all that was novel changed places with the rapidity of a drama. 4. Even apparent defeat assumed the appearance of victory; his flight from Egypt confirmed his destiny; ruin itself only elevated him to empire. But if his fortune was great, his genius was transcendent. Decision flashed upon his counsels, and it was the same to decide and to perform. To inferior intellects his combinations appeared perfectly impossible, his plans perfectly impracticable ; but in his hands simplicity marked their development and success vindicated their adop- tion. His person partook the character of his mind; if the one never yielded in the cabinet, the other never bent in the field. Nature had no obstacle that he did not surmount, Oratorical Style. 309 space no opposition that he did not spurn, and, whether amid Alpine rocks, Arabian sands, or Polar snows, he seemed proof against peril, and empowered with ubiquity ! 5. The whole continent trembled at beholding the audacity of his designs and the miracle of their execution. Skepticism bowed to the prodigies of his performance ; romance assumed the air of history; nor was there aught too incredible for belief or too fanciful for expectation when the world saw a subaltern of Corsica waving his imperial flag over her most ancient capitals. All the visions of antiquity became common- places in his contemplation. Kings were his people, nations were his outposts, and he disposed of courts and crowns and camps and churches and cabinets as if they were titular digni- taries of the chess-board. Amid all these changes he stood immutable as adamant. 6. It mattered little whether in the field or in the drawing- room, with the mob or the levee, wearing the Jacobin bonnet or the iron crown, banishing a Braganza or espousing a Haps- burg, dictating peace on a raft to the Czar of Russia or con- templating defeat at the gallows of Leipsic, he was still the same military despot. 7. In this wonderful combination his affectation of litera- ture must not be omitted. The jailer of the press, he affected the patronage of letters ; the proscriber of books, he encouraged philosophy; the persecutor of authors and the murderer of printers, he yet pretended to the protection of learning. Such a medley of contradictions, and at the same time such an individual consistency, were never united in the same character. A royalist, a republican, and an emperor, a Mohammedan, a Catholic, and a patron of the synagogue, a subaltern and a sovereign, a traitor and a tyrant, a Christian and an infidel, he was, through all his vicissitudes, the same stern, impatient, inflexible original, the same mysterious, in- comprehensible selfthe man without a model and without a shadow. 310 Science of Elocution. Rienzi's Address to the Romans. MISS MITFOBD. i. Friends, I come not here to talk. You know too well The story of our thraldom. We are slaves ! The bright sun rises to his course and lights A race of slaves ! He sets, and his last beams Fall on a slave ; not such as, swept along By the full tide of power, the conqueror led To crimson glory and undying fame, But base, ignoble slaves ; slaves to a horde Of petty tyrants, feudal despots, lords, Rich in some dozen paltry villages ; Strong in some hundred spearmen ; only great In that strange spell a name. 2. Each hour, dark fraud, Or open rapine, or protected murder, Cries out against them. But this very day An honest man, my neighbor there he stands Was struck struck like a dog by one who wore The badge of Ursini; because, forsooth, He tossed not high his ready cap in air, Nor lifted up his voice in servile shouts At sight "of that great ruffian ! Be we men, And suffer such dishonor ? men, and wash not The stain away in blood ? Such shames are common, I have known deeper wrongs ; I, that speak to ye. I had a brother once a gracious boy, Full of gentleness, of calmest hope, Of sweet and quiet joy; there was the look Of heaven upon his face, which limners give To the beloved disciple. 3. 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 cheek, a smile Parting his innocent lips. In one short hour That pretty, harmless boy was slain ! I saw Oratorical Style. 311 The corse, the mangled corse, and then I cried For vengeance ! Rouse, ye Romans ! rouse, ye slaves ! Have ye brave sons ? Look in the next fierce brawl To see them die. Have ye fair daughters ? Look To see them live, torn from your arms, distained, Dishonored ; and if ye dare call for justice, Be answered by the lash ! 4. Yet this is Rome, That sat on her seven hills, and from her throne Of beauty ruled the world ! Yet we are Romans! Why, in that elder day, to be a Roman Was greater than a king ! and once again Hear me, ye walls, that echoed to the tread Of either Brutus ! once, again, I swear The eternal city shall be free ! Death of Alexander Hamilton. 1. A short time since and he who is the occasion of our sorrows was the ornament of his country. He stood on an eminence, and glory covered him. From that eminence he has fallen suddenly, forever fallen. His intercourse with the living world is now ended ; and those who would hereafter find him must seek him in the grave. There, cold and lifeless, is the heart which just now was the seat of friendship. There, dim and sightless, is the eye whose radiant and enlivening orb beamed with intelligence ; and there, closed forever, are those lips on whose persuasive accents we have so often and so lately hung with transport. 2. From the darkness which rests upon his tomb there pro- ceeds, methinks, a light in which it is clearly seen that those gaudy objects which men pursue are only phantoms. In this light how dimly shines the splendor of victory how humble appears the majesty of grandeur ! The bubble which seemed to have so much solidity has burst, and we again see that all below the sun is vanity. 3. True, the funeral eulogy has been pronounced; the sad and solemn procession has moved ; the badge of mourning has 312 Science of Elocution. already been decreed; and presently the sculptured marble will lift up its front, proud to perpetuate the name of Hamil- ton, and rehearse to the passing traveler his virtues. Just tributes of respect, and to the living useful; but to him, moldering in his narrow and humble habitation, what are they ? How vain ! How unavailing ! 4. Approach and behold, while I lift from his sepulcher its covering. Ye admirers of his greatness, ye emulous of his talents and his fame, approach and behold him now. How pale ! how silent ! No martial bands admire the adroitness of his movements; no fascinated throng weep and melt and tremble at his eloquence. Amazing change ! a shroud ! a coffin ! a narrow subterraneous cabin ! This is all that now remains of Hamilton. And is this all that remains of him ? During a life so transitory, what lasting monument, then, can our fondest hopes erect ? My brethren, we stand on the borders of an awful gulf which is swallowing up all things human. And is there, amid this universal wreck, nothing stable, noth- ing abiding, nothing immortal, on which poor, frail, dying man can fasten ? 6. Ask the hero, ask the statesman, whose wisdom you have been accustomed to revere, and he will tell you. He will tell you, did I say ? He has already told you from his death-bed, and his illumined spirit still whispers from the heavens, with well- known eloquence, the solemn admonition: " Mortals, hasten- ing to the tomb, and once the companions of my pilgrimage, take warning and avoid my errors ; cultivate the virtues I have recommended ; choose the Saviour I have chosen. Live disinterestedly live for immortality. And would you rescue any thing from final dissolution, lay it up in God." Sheridan s Ride. T. BUCHANAN BEAD. 1. Up from the south at break of day, Bringing to "Winchester fresh dismay, The affrighted air with a shudder bore, Like a herald in haste, to the chieftain's door Impassioned Poetic Style. 313 The terrible grumble, and rumble, and roar, Telling the battle was on once more, And Sheridan twenty miles away. 2. And wilder still those billows of war Thundered along the horizon's bar; And louder yet into Winchester rolled The roar of that red sea uncontrolled, Making the blood of the listener cold, As he thought of the stake in that fiery fray, And Sheridan twenty miles away. 3. But there is a road from Winchester town, A good, broad highway leading down : And there through the flush of the morning light, A steed, as black as the steeds of night, Was seen to pass, as with eagle flight ; As if he knew the terrible need, He stretched away with his utmost speed ; Hills rose and fell ; but his heart was gay, With Sheridan fifteen miles away. 4. Still sprung from those swift hoofs, thundering south, The dust, like smoke from the cannon's mouth; Or the trail of a comet, sweeping faster and faster, Foreboding to traitors the doom of disaster. The heart of the steed, and the heart of the master Were beating like prisoners assaulting their walls, Impatient to be where the battle-field calls ; Every nerve of the charger was strained to full play With Sheridan only ten miles away, 5. Under his spurning feet, the road Like an arrowy Alpine river flowed, And the landscape sped away behind Like an ocean flying before the wind, And the steed, like a bark fed with furnace ire, Swept on, with his wild eye full of fire. But, lo ! he is nearing his heart's desire : He is snuffing the smoke of the roaring fray, With Sheridan only five miles away. 314 Science of Elocution. 6. The first that the general saw were the groups Of stragglers, and then the retreating troops ; What was done? what to do? a glance told him both, Then striking his spurs, with a terrible oath, He dashed down the line, 'mid a storm of huzzas, And the wave of retreat checked its course there, becau The sight of the master compelled it to pause. With foam and with dust the black charger was gray ; By the flash of his eye, and his red nostril's play, He seemed to the whole great army to say, "I have brought you Sheridan all the way From Winchester, down to save the day." 7. Hurrah ! hurrah for Sheridan ! Hurrah ! hurrah for horse and man ! And when their statues are placed on high Under the dome of the Union sky, The American soldiers' Temple of Fame, There with the glorious general's name Let it be said in letters both bold and bright : " Here is the steed that saved the day By carrying Sheridan into the fight, Froi Winchester, twenty miles away!" The Charge of the Light Brigade. TENNYSON. 1. Half a league, half a league, Half a league onward, All in the valley of death Rode the six hundred. "Forward, the Light Brigade! " 11 Charge for the gnus," he said, Into the valley of death Rode the six hundred. 2. "Forward, the Light Brigade!" Was there a man dismayed? Not though the soldiers knew Some one had blundered, Dramatic Style. 315 Theirs not to make reply, Theirs not to reason why, Theirs but to do and die. Into the valley of death Rode the six hundred. 3. Cannon to right of them, Cannon to left of them. Cannon in front of them Volleyed and thundered ; Stormed at w ith shot and shell, Boldly they rode and well, Into the jaws of Death, Into the mouth of Hell Rode the six hundred. 4. Flashed all their sabers bare, Flashed as they turned in air, Sabering the gunners there, Charging an army, while All the world wondered : Plunged in the battery-smoke, Right through the line they broke ; Cossack and Russian Reeled from the saber-stroke Shattered and sundered. Then they rode back, but not, Not the six hundred. 5. Cannon to right of them, Cannon to left of them, Cannon behind them Volleyed and thundered ; Stormed at with shot and shell, While horse and hero fell, They who had fought so well Came through the jaws of Death Back from the mouth of Hell, All that was left of them, Left of six hundred. 316 Science of Elocution. 6. When can their glory fade ? O the wild charge they made ! All the world wondered. Honor the charge they made ! Honor the Light Brigade, Noble Six Hundred! Gone Before. B. F. TAYLOR. 1. There's a beautiful face in the silent air, Which follows me ever and near ; With smiling eyes and amber hair, With voiceless lips, yet with breath of prayer, That I feel but cannot hear. 2. The dimpled hand and ringlet of gold Lie low in a marble sleep : I stretch my hand for a clasp of old, But the empty air is strangely cold, And my vigil alone I keep. 3. There's a sinless brow with a radiant crown, And a cross laid down in the dust ; There's a smile where never a shade comes now, And tears no more from those dear eyes flow, So sweet in their innocent trust. 4. There's a beautiful region above the skies, And I long to reach its shore, For I know I shall find my treasure there, The laughing eyes and amber hair, Of the loved one gone before. Abou Ben-Adhem. LEIGH HUNT. Abou Ben-Adhem (may his tribe increase!) Awoke one night from a deep dream of peace, And saw, within the moonlight in his room, Making it rich, and like a lily in bloom, An angel, writing in a book of gold. Exceeding peace had made Ben-Adhem bold ; Dkamatic Style. 317 And to the presence in the room he said, " What writest thou ? " The vision raised its head, And, with a look made all of sweet accord, Answered, "The names of those who love the Lord." "And is mine one ? " said Abou. "Nay, not so," Replied the angel. Abou spake more low, But cheerily still, and said, ' ' I pray thee, then, Write me as one that loves his fellow-men." 2. The angel wrote and vanished. The next night It came again, with a great wakening light, And showed the names whom love of God had blessed, And lo, Ben-Adhem's name led all the rest. Curfew must not Ring To-Night. ROSA A. HARTWIOK. 1. England's sun was slowly setting o'er the hills so far away. Filling all the land with beauty at the close of one sad day ; And the last rays kissed the forehead of a man and maiden fair, He with step so slow and weakened, she with sunny, float- ing hair ; He with sad, bowed head, and thoughtful ; she with lips so cold and white, Struggling to keep back the murmur, " Curfew must not ring to-night." 2. " Sexton," Bessie's white lips faltered, pointing to the prison old, With its walls so tall and gloomy walls so dark and damp and cold I've a lover in that prison, doomed this very night to die At the ringing of the Curfew, and no earthly help is nigh. Cromwell will not come till sunset," and her face grew strangely white, As she spoke in husky whispers, "Curfew must not ring to-night." 318 Science of Elocution. 3. " Bessie," calmly spoke the sexton every word pierced her young heart Like a thousand gleaming arrows, like a deadly poisoned dart; "Long, long years I've rung the Curfew from that gloomy shadowed tower ; Every evening, just at sunset, it has told the twilight hour; I have done my duty ever, tried to do it just, and right; Now I'm old, I will not miss it; girl, the Curfew rings to-night!" 4. Wild her eyes and pale her features, stern and white her thoughtful brow, And within her heart's deep center, Bessie made a solemn vow; She had listened while the judges read, without a tear or sigh, " At the ringing of the Curfew Basil Underwood must die." And her breath came fast and faster, and her eyes grew large and bright One low murmur, scarcely spoken "Curfew must not ring to-night ! " 5. She with light step bounded forward, sprang within the old church door. Left the old man coming slowly paths he'd trod so oft before ; Not one moment paused the maiden, but with cheek and brow aglow Staggered up the gloomy tower, where the bell swung to and fro : Then she climbed the slimy ladder, dark, without one ray of light, Upward still, her pale lips saying: "Curfew shall not ring to-night." 6. She has reached the topmost ladder; o'er her hangs the great dark bell ; And the awful gloom beneath her, like the pathway down to hell: Dramatic Style. 319 See, the ponderous tongue is swinging; tis the hour of Curfew now And the sight has chilled her bossom, stopped her breath, and paled her brow. Shall she let it ring ? No, never I her eyes flash with sud- den light, As she springs and grasps it firmly "Curfew shall not ring to-night." 7. Out she swung, far out, the city seemed a tiny speck below; There 'twixt heaven and earth suspended, as the bell swung to and fro ; And the half-deaf sexton ringing (years he had not heard the bell), And he thought the twilight Curfew rang young Basil's funeral knell: Still the maiden clinging firmly, cheek and brow so pale and white, Still'd her frightened heart's wild beating " Curfew shall not ring to-night." B. It was o'er the bell ceased swaying, and the maiden stepped once more Firmly on the damp old ladder, where for hundred years before Human foot had not been planted; and what she this night had done Should be told in long years after as the rays of setting sun Light the sky with mellow beauty, aged sires, with heads of white, Tell their children why the Curfew did not ring that one sad night. 9. O'er the distant hills came Cromwell ; Bessie saw him, and her brow, Lately white with sickening terror, glows with sudden beauty now; 320 Science of Elocution. At his feet she told her story, showed her hands all bruised and torn ; And her sweet young face, so haggard, with a look so sad and worn, Touched his heart with sudden pity lit his eyes with misty light ; "Go, your lover lives !" cried Cromwell; " Curfew must not ring to-night." 10. Wide they flung the massive portals, led the prisoner forth to die, All his bright young life before him. 'Neath the dark- ening English sky, Bessie came with flying footsteps, eyes aglow with love- light sweet ; Kneeling on the turf beside him, laid his pardon at his feet. In his brave, strong arms he clasped her, kissed the face upturned and white, Whispered, ''Darling, you have saved me ; Curfew mus* not ring to-night." John Burns of Gettysburg. F. BRET HARTE. 1. Have you neard the story that gossij>s tell Of Burns of Gettysburg ? No ? Ah, well! Brief is the glory that hero earns, Briefer the story of poor John Burns : He was the fellow who won renown The only man who didn't back down When the rebels rode through his native town r But held his own in the fight next day, When all his townsfolk ran away. That was in July, sixty- three, The very day that General Lee, The flower of Southern chivalry, Baffled and beaten, backward reeled From a stubborn Meade and a barren field. Dramatic Style. 321 I might tell how, but the day before, John Burn3 stood at his cottage-door, Looking down the village street, Where in the shade of his peaceful vine, He heard the low of his gathered kine, And felt their breath with incense sweet ; Or, I might say, when the sunset burned The old farm gable, he thought it turned The milk that fell in a babbling flood Into the "milk-pail, red as blood ; Or, how he fancied the hum of bees Were bullets buzzing among the trees. But all such fanciful thoughts as these Were strange to a practical man like Burns, Who minded only his own concerns, Troubled no more by fancies fine Than one of his calm-eyed, long tailed kine Quite old-fashioned and matter-of-fact, Slow to argue, but quick to act. That was the reason, as some folks say, He fought so well on that terrible day. 3. And it was terrible. On the right Raged for hours the heavy fight, Thundered the battery's double bass Difficult music for men to face ; While on the left where now the graves Undulate like the living waves That all the day unceasing swept Up to the pits the rebels kept Round shot plowed the upland glades, Sown with bullets, reaped with blades : Shattered fences here and there Tossed their splinters in the air ; The very trees were stripped and bare ; The barns that once held yellow grain Were heaped with harvests of the slain ; The cattle bellowed on the plain, The turkeys screamed with might and main. 21 322 Science of Elocution. And brooding barn-fowl left their rest With strange shells bursting in each nest. 4. Just where the fide of battle turns, Erect and lonely stood old John Burns. How do you think the man was dressed ? He wore an ancient, long buff vest, Yellow as saffron, but his best ; And buttoned over his manly breast Was a bright blue coat with a rolling collar, And large gilt buttons size of a dollar With tails that country folk called "swaller. w He wore a broad-brimmed bell-crowned hat, White as the locks on which it sat. Never had such a sight been seen For forty-years on the village green, Since old John Burns was a country beau, And went to the " quilting " long ago. 6. Close at his elbows all that day Veterans of the Peninsula, Sunburnt and bearded, charged away. And striplings, downy of lip and chin, Clerks that the Home Guard mustered in, Glanced as they passed at the hat he wore, Then at the rifle his right hand bore ; And hailed him from out their youthful lore, With scraps of a slangy repertoire : " How are you, White Hat ? " u Put her through! " " Your head's level ! " and, " Hurrah for you ! " Called him " Daddy," and begged he'd disclose The name of the tailor who made his clothes, And what was the value he set on those ; While Burns, unmindful of jeer and scoff, Stood there picking the rebels off With his long, brown rifle and bell-crown hat, And the swallow-tails they were laughing at. 7. 'Twas but a moment, for that respect Which clothes all courage their voices checked; Dramatic Style. 323 And something the wildest could understand, Spake in the old man's strong right hand, And his corded throat, and the lurking frown Of his eyebrows under his old bell-crown, Until, as they gazed, there crept an awe Through the ranks in whispers, and some men saw In the antique vestments and long white hair, The Past of the Nation in battle there. And some of the soldiers since declare That the gleam of his old white hat afar, Like the crested plume of the brave Navarre, That day was their oriflamme of war. Thus raged the battle. You know the rest, How the rebels beaten, and backward pressed, Broke at the final charge and ran. At which John Burns, a practical man, Shouldered his rifle, unbent his brows, And then went back to his bees and cows. 7. That is the story of old John Burns; And this is the moral the listener learns; In fighting life's battle the question's whether You'll show a hat that's white, or a feather. Creeds of the Bells. GEORGE W. BUNGAY. How sweet the chime of Sabbath bells! Each one its creed in music tells, In tones that float upon the air, As soft as song, and pure as prayer ; And I will put in simple rhyme The language of the golden chime. My happy heart with rapture swells Responsive to the bells sweet bells. "In deeds of love excel excel," Chimed out from ivied towers a bell : 324 Science of Elocution. " This is the church not built ou sands, Emblem of one not built with hands ; Its forms and sacred rites revere ; Come worship here come worship here ; Its rituals and faith excel excel," Chimed out the Episcopalian bell. 3. " O, heed the ancient landmarks well," In solemn tones exclaimed a bell ; " No progress made by mortal man Can change the just, eternal plan. With God there can be nothing new; Ignore the false, embrace the true ; While all is well is well is well," Pealed out the good old Dutch Church bell. 4. " O swell, ye purifying waters, swell," In mellow tones rang out a bell ; " Though faith alone in Christ can save, Man must be plunged beneath the wave, To show the world unfaltering faith In what the sacred Scripture saith. O swell, ye rising waters, swell," Pealed out the clear-toned Baptist bell. 5. " In after life there is no hell ! " In raptures rang a cheerful bell ; "Look up to heaven this holy day, Where angels wait to lead the way ; There are no fires, no fiends, to blight The future life ; be just, do right. No hell ! no hell ! no hell ! no hell ! " Rang out the Universalist bell. 6. " Not faith alone, but works as well, Must test the soul," said a soft bell; "Come here, and cast aside your load, And work your way along the road, With faith in God, and faith in man, And hope in Christ, where hope began : Do well do well do well do well," Pealed forth the Unitarian bell. Dramatic Style. 325 7. "Farewell! farewell! base world, farewell I" In touching tones exclaimed a bell ; " Life is a boon to mortals given, To fit the soul for bliss in heaven. Do not invoke the avenging rod ; Come here, and learn the way to God. Say to the world farewell! farewell!" Pealed out the Presbyterian bell. 8. " To all the truth we tell we tell," Shouted in ecstasies a bell ; " Come, all ye weary wanderers, see! Our Lord has made salvation free. Repent ! believe ; have faith ! and then Be saved, and praise the Lord. Amen. Salvation's free, we tell we tell," Shouted the Methodistic bell. The Vagabonds. TROWBRIDGE. 1. We are two travelers, Roger and I. Roger's my dog. Come here, you scamp ! Jump for the gentlemen mind your eye ! Over the table look out for the lamp ! The rogue is growing a little old ; Five years we've tramped through wind and weather And slept out-doors when nights were cold, And ate and drank and starved together. 2. We've learned what comfort is, I tell you! A bed on the floor, a bit of rosin. A fire to thaw our thumbs (poor fellow ! The paw he holds up there's been frozen), Plenty of catgut for my fiddle (This out- door business is bad for strings), Then a few nice buckwheats hot from the griddle, And Roger and I set up for kings ! 326 Science of Elocution. 3. No, thank ye, sir I never drink ; Roger and I are exceedingly moral Aren't we, Roger? See him wink ! Well, something hot, then we wont quarrel. He's thirsty, too see him nod his head ! What a pity, sir, that dogs can't talk ! He understands every word that's said And he knows good milk from water-and-chalk. 4. The truth is, sir, now I reflect, I've been so sadly given to grog, I wonder I've not lost the respect (Here's to you, sir !) even of my dog. But he sticks by, through thick and thin ; And this old coat, with its empty pockets, And rags that smell of tobacco and gin, He'll follow while he has eyes in his sockets. 5. There isn't another creature living Would do it, and prove, through every disaster, So fond, so faithful, and so forgiving To such a miserable, thankless master! No, sir ! see him wag his tail and grin ! By George! it makes my old eyes water! That is, there's something in this gin That chokes a fellow. But no matter ! 6. We'll have some music if you're willing, And Roger (hem ! what a plague a cough is, sir !) Shall march a little. Start, you villain ! Stand straight ! 'Bout face ! Salute your officer ! Put up that paw ! Dress ! Take your rifle ! (Some dogs have arms, you see!) Now hold your Cap while the gentlemen give a trifle To aid a poor old patriot soldier ! 7. March! Halt! Now show how the rebel shakes When he stands up to hear his sentence. Now tell us how many drams it takes To honor a jolly new acquaintance. Deamatic Style. 32T Five yelps that's five; lie's mighty knowing! The night's before us, fill the glasses ! Quick, sir! I'm ill my brain is going I Some brandy thank you there it passes ! 8. Why not reform! That's easily said; But I've gone through such wretched treatment, Sometimes forgetting the taste of bread, And scarce remembering what meat meant, That my poor stomach's past reform; And there are times when, mad with thinking, I'd sell out heaven for something warm To prop a horrible inward sinking. 9. Is there a way to forget to think? At your age, sir, home, fortune, friends, A dear girl's love but I took to drink ; The same old story; you know how it ends. If you could have seen these classic features You needn't laugh, sir ; they were not then Such a burning libel on God's creatures : I was one of your handsome men ! 10. If you had seen her, so fair and young, Whose head was happy on this breast ! If you could have heard the songs we sung When the wine went round, you wouldn't have guessed That ever I, sir, should be straying From door to door, with fiddle and dog, Ragged and penniless, and playing To you to-night for a glass of grog ! 11. She's married since a parson's wife: 'Twas better for her that we should part Better the soberest, prosiest life Than a blasted home and a broken heart. Have I seen her? Once : I was weak and spent On a dusty road : a carriage stopped ; But little she dreamed, as on she went, Who kissed the coin that her fingers dropped ! 328 Science of Elocution. 12. You've set me talking, sir ; I'm sorry ; It makes me wild to think of the change ! What do you care for a beggar's story? Is it amusing? you find it strange? I had a mother so proud of me ! 'Twas well she died before Do you know If the happy spirits in heaven can see The ruin and wretchedness here below? 13. Another glass, and strong, to deaden This pain ; then Eoger and I will start. I wonder, has he such a lumpish, leaden, Aching thing, in place of a heart ? He is sad sometimes, and would weep, if he could, No doubt, remembering things that were A virtuous kennel, with plenty of food, And himself a sober, respectable cur. 14. I'm better now ; that glass was warming. You rascal ! limber your lazy feet ! We must be fiddling and performing For supper and bed, or starve in the street Not a very gay life to lead, you think? But soon we shall go where lodgings are free, And the sleepers need neither victuals nor drink ; The sooner, the better for Roger and me ! The Bells. EDGAR A. POE. 1. Hear the sledges with the bells Silver bells What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle, In the icy air of night ! While the stars that oversprinkle All the heavens seem to twinkle With a crystalline delight ; Keeping time, time, time, In a sort of Runic rhyme, Dramatic Style. 329 To the tintinnabulation that so musically swells From the bells, bells, bells, bells, Bells, bells, bells From the jingling and the tinkling of the bells. 2. Hear the mellow wedding-bells, Golden bells ! What a world of happiness their harmony foretells Through the balmy air of night How they ring out their delight ! From the molten-golden notes, And all in tune, What a liquid ditty floats To the turtle dove that listens while she gloats On the moon ! O, from out the sounding cells, What a gush of euphony voluminously wells ! How it swells ! How it dwells On the future ! how it tells Of the rapture that impels To the swinging and the ringing Of the bells, bells, bells- Bells, bells, bells To the rhyming and the chiming of the bells ! 3. Hear the loud alarum bells Brazen bells ! What a tale of terror, now, their turbulency tells ! In the startled ear of night How they scream out their affright ! Too much horrified to speak, They can only shriek, shriek, Out of tune. In a clamorous appealing to the mercy of the fire, In a mad expostulation with the deaf and frantic firt, Leaping higher, higher, higher, With a desperate desire, And a resolute endeavor, Now now to sit or never, By the side of the pale-faced moon. 330 Science of Elocution. O the bells, bells, bells! What a tale their terror tells Of despair ! How they clang, and clash, and roar! What a horror they outpour On the bosom of the palpitating air ! Yet the ear it fully knows, By the twanging And the clanging, How the danger ebbs and flows: Yet the ear distinctly tells, In the jangling And the wrangling, How the danger sinks and swells, By the sinking or the swelling in the anger of the bells. Of the bells- Bells, bells, bells In the clamor and the clangor of the bells 1 4. Hear the tolling of the bells Iron bells! What a world of solemn thought their monody compels. In the silence of the night, How we shiver with affright At the melancholy menace of their tone! For every sound that floats From the rust within their throats Is a groan. And the people ah, the people They that dwell up in the steeple, All alone, And who tolling, tolling, tolling, In that muffled monotone, Feel a glory in so rolling On the human heart a stone They are neither man nor woman They are neither brute nor human They are Ghouls : And their king it is who tolls ; And he rolls, rolls, rolls, rolls, Dramatic Style. 331 A psean from the bells ! And his merry bossom swells With the paean of the bells ! And he dances and he yells ; Keeping time, time, time, In a sort of Hunic rhyme, To the tolling of the bells, Bells, bells, bells, To the moaning and the groaning of the bells. Charlie Machree- WILLIAM J. HOPPIX. Come over, come over the river to me, If ye are my laddie, bold Charlie Machree! Here's Mary M'Pherson and Susy O'Linn, Who say ye're faint-hearted, and dare not plunge in. But the dark rolling river, though deep as the sea, I know cannot scare you, nor keep you from me ; For stout is your back and strong is your arm, And the heart in your bosom is faithful and warm. Come over, come over the river to me, If ye are my laddie, bold Charlie Machree. I see him, I see him. He's plunged in the tide ; His strong arms are dashing the big waves aside. O ! the dark rolling water shoots swift as the sea, But blithe is the glance of his bonnie blue e'e. His cheeks are like roses, twa buds on a bough; Who says ye're faint hearted, me brave laddie, nowi Ho, ho, foaming river, ye may roar as ye go, But ye canna bear Charlie to the dark loch below! Come over, come over the river to me, My true-hearted laddie, my Charlie Machree ! 832 * Science op Elocution. He's sinking, he's sinking 0, what shall I do ! Strike out, Charlie, boldly, ten strokes, and ye're thro'. He's sinking, O heaven! Ne'er fear, man, ne'er fear; I've a kiss for ye, Charlie, as soon ar ye're here ! He rises, I see him five strokes, C'arlie, mair, He's shaking the wet from his bon< j brown hair; He conquers the current, he gains ^n the sea Ho, where is the swimmer like Charlie Machree ! Come over the river, but once come to me, And I'll love ye forever, dear Charlie Machree. He's sinking, he's gone O God, it is I, It is I, who have killed him help, help ! he must die. Help, help ! ah, he rises strike out and ye're free, Ho, bravely done, Charlie ; once more now, for me ! Now cling to the rock, now give me your hand Ye're safe, dearest Charlie, ye're safe on the land ! Come rest on my bosom, if there ye can sleep ; I canna speak to ye ; I only can weep. Ye've crossed the wild river, ye've risked all for me, And I'll part frae ye never, dear Charlie Machree ! Count Candespina's Standard. GEORGE H. B0KER. " The King of Aragon now entered Castile, by way of Soria and Osma, witfc a powerful array ; and, having been met by the queen's forces, both parties encamped near Sepulveda, and prepared to give battle. " This engagement, called, from the field where it took place, de la Espina, is one of the most famous of that age. The dastardly Count of Lara fled at the first shock, and joined the queen at Burgos, where she was anxiously awaiting the issue; but the brave Count of Candespina (Gomez Gonzalez) stood his ground to the last, and died on the field of battle. His standard- bearer, a gentleman of the house of Olea, after having his horse killed under him, and both hands cut off by saber strokes, fell beside his master, still clasping the standard in his arms, and repeating his war-cry of l Olea ! ' " Annate of the Queens of Spain. Dramatic Style. 333 1. Scarce were the splintered lances dropped, Scarce were the swords drawn out, Ere recreant Lara, sick with fear, Had wheeled his steed about ; 2. His courser reared and pluuged and neighed, Loathing the fight to yield ; But the coward spurred him to the bone, And drove him from the field. ' 3. Gonzalez in his stirrups rose : " Turn, turn, thou traitor knight! Thou bold tongue in a lady's bower, Thou dastard in a fight ! " 4. But vainly valiant Gomez cried Across the waning fray : Pale Lara and his craven band To Burgos scoured away. 5. " Now, by the God above me, sirs, Better we all were dead, Than a single knight among ye all Should ride where Lara led ! 6. ' ' Yet ye who fear to follow me, As yon traitor turn and fly ; For I lead ye not to win a field : I lead ye forth to die. 7. " Olea, plant my standard here Here on this little mound ; Here raise the war-cry of thy house, Make this our rallying ground. 8. " Forget not, as thou hop'st for grace The last care I shall have Will be to hear thy battle-cry, And see that standard wave." 9. Down on the ranks of Aragon The bold Gonzalez drove, And Olea raised his battle-cry, And waved the flag above. 334 Science of Elocution. 10. Slowly Gonzalez's little band Gave ground before the foe, But not an inch of the field was won "Without a deadly blow ; 11. And not an inch of the field was won That did not draw a tear From the widowed wives of Aragon, That fatal news to hear. 12. Backward and backward Gomez fought, And high o'er the clashing steel, Plainer and plainer rose the cry, " Olea for Castile ! " 13. Backward fought Gomez, step by step, Till the cry was close at hand, Till his dauntless standard shadowed him And there he made his stand. 14. Mace, sword, and ax rang on his mail, Yet he moved not where he stood, Though each gaping joint of armor ran A stream of purple blood. 15. As pierced with countless wounds he fell, The standard caught his eye, And he smiled, like an infant hushed asleep, To hear the battle-cry. 16. Now one by one the wearied knights Have fallen, or basely flown ; And on the mound where his post was fixed Olea stood alone. 17. " Yield up thy banner, gallant knight 1 Thy lord lies on the plain ; Thy duty has been nobly done ; I would not see thee slain." 18. " Spare pity, King of Aragon; I would not hear thee lie : My lord is looking down from heaven To see his standard fly." Dramatic Style. 335 19. "Yield, madman, yield! thy horse is down, Thou hast nor lance nor shield ; Fly! I will grant thee time." " This flag Can neither fly nor yield ! " 20. They girt the standard round about, A wall of flashing steel ; But still they heard the battle-cry, "Oleafor Castile! " 21. And there, against all Aragon, Full armed with lance and brand, Olea fought until the sword Snapped in his sturdy hand. 22. Among the foe, with that high scorn Which laughs at earthly fears, He hurled the broken hilt, and drew His dagger on the spears. 23. They hewed the hauberk from his breast, The helmet from his head ; They hewed the hands from off his limbs, From every vein ne bled. 24. Clasping the standard to his heart, He raised one dying peal, That ran<>: as if a trumpet blew "Olea for Castile!" Bernardo Del Carpio. MRS. HEMANS. 1. The warrior bowed his crested bead, and tamed his heart of fire, And sued the haughty king to free his long-imprisoned sire ; "I bring thee here my fortress-keys, I bring my captive train ; I pledge thee faith, my liege, my lord ! O break my father's chain ! " 336 Science of Elocution. 2. "Rise, rise! even now thy father comes, a ransomed man this day ! Mount thy good horse, and thou and I will meet him. on his way." Then lightly rose that loyal son, and bounded on his steed, And urged as if with lance in rest, the charger's foamy 3. And lo ! from far, as on they pressed, there came a glitter- ing band, With one that 'midst them stately rode, as leader in the land! "Now haste, Bernardo, haste! for there, in very truth, is he, The father whom thy faithful heart hath yearned so long to see." I. His dark eye flashed, his proud breast heaved, his cheek's hue came and went ; He reached that gray-haired chieftain's side, and there dismounting, bent; . A lowly knee to earth he bent, his father's hand he took What was there in its touch that all his fiery spirit shook ? 5. That hand was cold a frozen thing it dropped from his like lead ! He looked up to the face above the face was of the dead? A plume waved o'er the noble brow the brow was fixed and white ; He met, at last, his father's eyes but in them was no sight ! 6. Up from the ground he sprang and gazed but who could paint that gaze ? They hushed their very hearts, that saw its horror and amaze They might have chained him, as before that stony form he stood; For the power was stricken from his arm, and from his lip the blood. Dramatic Style. 337 V. "Father! " at last he murmured low, and wept like child- hood then : Talk not of grief till thou hast seen the tears of warlike men! He thought on all his glorious hopes, and all his young renown He flung his falchion from his side, and in the dust sat down. 8. Then covering with his steel-gloved hands his darkly mournful brow, "No more, there is no more," he said, "to lift the sword for now ; My king is false my hope betrayed ! My father ! the worth, The glory, and the loveliness are passed away from earth ! 9. "I thought to stand where banners waved, my sire, beside thee yet ! I would that there our kindred blood on Spain's free soil had met ! Thou wouldst have known my spirit then; for thee my fields were won ; And thou hast perished in thy chains, as though thou hadst no son! 10. Then, starting from the ground once more, he seized the monarch's rein, Amid the pale and wildered looks of all the courtier train ; And with a fierce o'ermastering grasp, the rearing war- horse led, And sternly set them face to face the king before the dead. 11. " Came I not forth, upon thy pledge, my father's hand to kiss ? Be still, and gaze thou on, false king ! and tell me, what is this? The voice, the glance, the heart I sought give answer, where are they ? If thou wouldst clear thy perjured soul, send life through this cold clay ! 22 338 Science of Elocution. 12. "Into these glassy eyes put light be still! keep down thine ire! Bid these white lips a blessing speak this earth is not my sire; Give me back him for whom I strove, for whom my blood was shed ! Thou canst not? and a king! his dust be mountains on thy head!" 13. He loosed the steed his slack hand fell ; upon the silent face He cast one long, deep, troubled look, then turned from that sad place ; His hope was crushed; his after fate untold in martial strain ; His banner led the spears no more amid the hills of Spain. The Raven. EDGAR A. rOE. 1. Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. " 'Tis some visitor," I muttered, "tapping at my chamber door Only this, and nothing more." 2. Ah, distinctly I remember, it was in the bleak December, And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow: vainly I had sought to borrow From my books surcease of sorrow sorrow for the lost Lenore For the rare and radiant maiden whom the angels named Lenore Nameless here for evermore Dramatic Style. 339 3. And the silken, sad, uncertain rustling of each purple cur- tain, Thrilled me filled me with fantastic terrors never felt before ; So that now, to still the beating of my heart, I stood repeating, " 'Tis some visitor entreating entrance at my chamber door Some late visitor entreating entrance at my chamber door : That it is, and nothing more." 4. Presently my soul grew stronger : hesitating then no longer, "Sir," said I, "or Madam, truly your forgiveness I implore ; But the fact is, I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you " here I opened wide the door : Darkness there, and nothing more. 5. Deep into that darkness peering, long I stood there, wondering, fearing. Doubting, dreaming dreams no mortal ever dared to dream before ; But the silence was unbroken, and the darkness gave no token, And the only word there spoken was the whispered word "Lenore! " This I whispered, and an echo murmured back the word "Lenore! " Merely this, and nothing more. 6. Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping, something louder than before. "Surely," said I, "surely that is something at my win- dow lattice; 340 Science of Elocution. Let me see then what thereat is, and this mystery explore Let my heart be still a moment, and this mystery explore ; 'Tis the wind, and nothing more." 7. Open then I flung the shutter, when, with many a flirt and flutter, In there stepped a stately raven of the saintly days of yore. Not the least obeisance made he ; not an instant stopped or stayed he : But, with mien of lord or lady, perched above my chamber door Perched upon a bust of Pallas, just above my chamber door Perched, and sat, and nothing more. 8. Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, "Though thy crest be shorn and shaven, thou," I said, 1 ' art sure no craven ; Ghastly, grim, and ancient raven, wandering from the nightly shore, Tell me what thy lordly name is on the Night's Plutonian shore." Quoth the raven, " Nevermore! " 9. Much I marveled this ungainly fowl to hear discourse so plainly, Though its answer little meaning little relevancy bore ; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door Bird or beast upon the sculptured bust above his chamber door With such name as " Nevermore! " 10. But the raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did out- pour. Dramatic Style. 341 Nothing further then he uttered not a feather then he fluttered Till I scarcely more than muttered, "Other friends have flown before On the morrow he will leave me, as my hopes have flown before. " Then the bird said, " Nevermore 1 " 11. Startled at the stillness, broken by reply so aptly spoken, " Doubtless," said I, " what it utters is its only stock and store, Caught from some unhappy master, whom unmerciful disaster Followed fast and followed faster, till his song one burden bore Till the dirges of his hope that melancholy burden bore, Of Never nevermore !' " 12. But the raven still beguiling all my sad soul into smiling, Straight I wheeled a cushioned seat in front of bird and bust and door, Then upon the velvet sinking, I took myself to linking Fancy unto fancy, thinking what this ominous bird of yore What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking "Nevermore! " 13. Thus I sat engaged in guessing, but no sj^llable expressing To the fow T l, whose fiery eyes now burned into my bosom's core. This and more I sat divining, with my head at ease reclining On the cushion's velvet lining that the lamp-light gloated o'er, But whose velvet, violet lining, with the lamp-light gloat- ing o'er She shall press ah ! nevermore ! 34:2 Science of Elocution. 14. Then methought the air grew denser, perfumed from an unseen censer Swung by seraphim, whose faint foot-falls tinkled on the tufted floor. " Wretch!" I cried, "thy God hath lent thee by these angels he hath sent thee Respite respite and nepenthe from thy memories of Lenore 1 Quaff, O quaff this kind nepenthe, and forget this losi Lenore! " Quoth the raven, "Nevermore!" 15. " Prophet! " said I, " thing of evil ! prophet still, if bird or devil ! Whether tempter sent, or whether tempest tossed thee here ashore, Desolate, yet all undaunted, on this desert land enchanted On this home by Horror haunted tell me truly, I implore Is there is there balm in Gilead ? tell me tell me, I implore ! " Quoth the raven, " Nevermore! " 16. "Prophet!" said I, " thing of evil ! prophet still, if bird or devil ! By that heaven that bends above us by that God we both adore, Tell this soul with sorrow laden, if, within the distant Aidenn, It shall clasp a sainted maiden, whom the angels name Lenore ; Clasp a fair and radiant maiden, whom the angels name Lenore ! " Quoth the raven, " Nevermore ! " 17. "Be that word our sign of parting, bird or fiend!" I shrieked upstarting "Get thee back into the tempest and Night's Plutonian shore ! Leave no black plume as a token of that lie thy soul hath spoken ! Dramatic Style. 343 Leave my loneliness unbroken! quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door ! " Quoth the raven, ' ' Nevermore ! " .8. And the raven, never flitting, still is sitting, still is sitting On the placid bust of Pallas, just above my chamber door; And his eyes have all the seeming of a demon that is dreaming, And the lamp-light o'er him streaming throws his shadow on the floor ; And my soul from out that shadow that lies floating on the floor, Shall be lifted nevermore ! Evening at the Farm. J. T. TROWBRIDGE. 1. Over the hill the farm-boy goes; His shadow lengthens along the land, A giant staff in a giant hand ; In the poplar-tree, above the spring, The katy-did begins to sing ; The early dews are falling ; Into the stone-heap darts the mink : The swallows skim the rivers brink ; And home to the woodland fly the crows, When over the hill the farm-boy goes, Cheerily calling, 11 Co', boss! co', boss! co'! co'! co'!" Farther, farther, over the hill, Faintly calling, calling still, " Co', boss! co', boss ! co'! co'! co'!' 2. Now to her task the milkmaid goes. The cattle come crowding through the gate, Lowing, pushing, little and great ; About the trough, by the farm-yard pump, The frolicsome yearlings frisk and jump, While the pleasant dews are falling; 344 Science of Elocution. The new milch heifer is quick and shy, But the old cow waits with tranquil eye, And the white stream into the bright pail flows, When to her task the milkmaid goes, Soothingly calling : " So, boss ! so, boss ! so ! so ! so ! " The cheerful milkmaid takes her stool, And sits and milks in the twilight cool, Saying, "So! so, boss! so! so! " 3. To supper at last the farmer goes. The apples are pared, the paper read, The stories are told, then all to bed. Without, the crickets' ceaseless song Makes shrill the silence all night long ; The heavy dews are falling. The housewife's hand has turned the lock; Drowsily ticks the kitchen clock ; The household sinks to deep repose, But still in sleep the farm-boy goes, Singing, calling u Co', boss! co', boss! co'! co'! co'! " And oft the milkmaid, in her dreams, Drums in the pail with the flashing streams, Murmuring, "So, boss! so!" Pyramus and Thisbe. JOHN G. SAXE. 1. This tragical tale, which they say is a true one, Is old ; but the manner is wholly a new one. One Ovid, a writer of some reputation, Has told it before in a tedious narration, In a style, to be sure, of remarkable fullness, But which nobody reads on account of its dullness. Young Peter Pyramus I call him Peter, Not for the sake of the rhyme or the meter; But merely to make the name completer For Peter lived in the olden times, And in one of the worst of pagan climes Humorous Style. 345 That flourish now in classical fame, Long before either noble or boor Had such a thing as a Christian name. Young Peter, then, was a nice young beau As any young lady would wish to know ; In years, I ween, he was rather green ; That is to say, he was just eighteen A trifle too short, a shaving too lean, But " a nice young man " as ever was seen, And fit to dance with a May-day queen ! 2. Now Peter loved a beautiful girl As ever ensnared the heart of an earl. In the magical trap of an auburn curl A little Miss Thisbe, who lived next door. (They dwelt, in fact, on the very same floor With a wall between them and nothing more Those double dwellings were common of yore.) And they loved each other, the legends say, In that very beautiful, bountiful way, That every young maid and every young blade Are want to do before they grow staid, And learn to love by the laws of trade ; But (alack-a-day, for the girl and boy !) A little impediment checked their joy, And gave them awhile the deepest annoy ; For some good reason, which history cloaks, The match didn't happen to please the old folks! 3. So Thisbe's father and Peter's mother Began the young couple to worry and bother, And tried their innocent passions to smother, By keeping the lovers from seeing each other! But who ever heard of a marriage deterred, Or even deferred, By any contrivance so very absurd As scolding the boy and caging the bird? Now Peter, who wasn't discouraged at all By obstacles such as the timid appal, 346 Science of Elocution. Contrived to discover a hole in the wall, Which wasn't so thick but removing a brick Made a passage though rather provokingly small. Through this little chink the lover could greet her, And secrecy made their courting the sweeter, While Peter kissed Thisbe, and Thisbe kissed Peter For kisses, like folks with diminutive souls, Will manage to creep through the smallest of holes! 4. 'Twas here that the lovers, intent upon love, Made a nice little plot to meet at a spot Near a mulberry- tree in a neighboring grove; For the plan was all laid by the youth and the maid, Whose hearts, it would seem, were uncommonly bold ones, To run off and get married in spite of the old ones. In the shadows of evening, as still as a mouse, The beautiful maiden slipped out of the house, The mulberry-tree impatient to find ; While Peter, the vigilant matrons to blind, Strolled leisurely out, some minutes behind. While waiting alone by the trysting tree, A terrible lion as e'er you set eye on, Came roaring along quite horrid to see, And caused the young maiden in terror to flee (A lion's a creature whose regular trade is Blood and u a terrible thing among ladies"), And losing her veil as she ran from the wood, The monster bedabbled it over with blood. & Now Peter arriving, and seeing the veil All covered o'er and reeking with gore, Turned, all of a sudden, exceedingly pale, And sat himself down to weep and to wail For, soon as he saw the garment, poor Peter Made up his mind in very short meter That Thisbe was dead, and the lion had eat her! So breathing a prayer, he determined to share The fate of his darling, "the loved and the lost," And fell on his dagger, and gave up the ghost ! Humorous Style. 347 Now Thisbe returning, and viewing her beau, Lying dead by her veil (which she happened to know), She guessed in a moment the cause of his erring ; And, seizing the knife that had taken his life, In less than a jiffy was dead as a herring. MORAL. Young gentlemen ! pray recollect, if you please, Not to make your appointments near mulberry-trees. Should your mistress be missing, it shows a weak head To be stabbing yourself till you know she is dead. Young ladies ! you shouldn't go strolling about When your anxious mammas don't know you are out ; And remember that accidents often befall From kissing young fellows through holes in the wall ! Mr. Pickwick's Proposal to Mrs. Bardell. DICKENS. It was evident that something of great importance was in contemplation ; but what that something was, not even Mrs. Bardell herself had been enabled to discover. 4 'Mrs. Bardell," said Mr. Pickwick, at last, as that amiable female approached the termination of a prolonged dusting of the apartment. "Sir," said Mrs. Bardell. "Your little boy is a very long time gone." "Why, it is a good loDg way to the Borough, sir," remon- strated Mrs. Bardell . "Ah," said Mr. Pickwick, "very true; so it is." Mr. Pickwick relapsed into silence, and Mrs. Bardell re- sumed her dusting. "Mrs. Bardell, " said Mr. Pickwick, at the expiration of a few tninutes. "Sir," said Mrs. Bardell again. ' ' Do you think it's a much greater expense to keep two peo- ple than to keep one?" "La, Mr. Pickwick," said Mrs. Bardell, coloring up to the very border of her cap, as she fancied she observed a species of 348 Science of Elocution. matrimonial twinkle in the eyes of her lodger; " La, Mr. Pick- wick, what a question ! " "Well, but do you?" inquired Mr. Pickwick. "That depends" said Mrs. Bardell, approaching the duster very near to Mr. Pickwick's elbow, which was planted on the table ; "that depends a good deal upon the person, you know r , Mr. Pickwick; and whether it's a saving and careful per- son, sir." "That's very true," said Mr. Pickwick; "but the person I have in my eye (here he looked very hard at Mrs. Bardell) I think possesses these qualities, and has, moreover, a consider- able knowledge of the world, and a great deal of sharpness, Mrs. Bardell, which may be of material use to me." "La, Mr. Pickwick," said Mrs. Bardell, the crimson rising to her cap-border again. "I do," said Mr. Pickwick, growing energetic, as was his wont in speaking of a subject which interested him; "I do, indeed ; and to tell you the truth, Mrs. Bardell, I have made up my mind." "Dear me, sir!" exclaimed Mrs. Bardell. "You'll think it not very strange now," said the amiable Mr. Pickwick, with a good-humored glance at his companion, 4 ' that I never consulted you about this matter, and never men- tioned it till I sent your little boy out this morning eh? " Mrs. Bardell could only reply by a look. She had long worshiped Mr. Pickwick at a distance, but here, she was all at once, raised to a pinnacle to which her wildest and most ex- travagant hopes had never dared to aspire. Mr. Pickwick was going to propose a deliberate plan, too sent her little boy to the Borough to get him out of the way how thoughtful how considerate ! " Well," said Mr. Pickwick, "what do you think? " "O, Mr. Pickwick," said Mrs. Bardell, trembling with agi- tation, "you're very kind, sir." "It'll save you a good deal of trouble, wont it?" said Mr. Pickwick. "O, I never thought any thing of the trouble, sir," replied Mrs. Bardell; "and of course, I should take more trouble to please you then than ever ; but it is so kind of you, Mr. Pick- wick, to have so much consideration for my loneliness." Humorous Style. 349 "Ah, to be sure," said Mr. Pickwick; "I never thought of that. When I am in town you'll always have somebody to sit with you. To be sure, so you will." "I'm sure I ought to be a very happy woman," said Mrs. Bardell. "And your little boy " said Mr. Pickwick. "Bless his heart," interposed Mrs. Bardell, with a maternal sob. "He, too, will have a companion," resumed Mr. Pickwick, "a lively one, who'll teach him, I'll be bound, more tricks in a week than he would ever learn in a year." And Mr. Pick- wick smiled placidly. "O you dear!" said Mrs. Bardell. Mr. Pickwick started. "O you kind, good, playful dear," said Mrs. Bardell; and without more ado, she rose from her chair and flung her arms around Mr. Pickwick's neck, with a cataract of tears and a chorus of sobs. "Bless my soul!", cried the astonished Mr. Pickwick; " Mrs. Bardell, my good woman dear me, what a situa- tion pray consider, Mrs. Bardell, don't if any body should come " "O let them come!" exclaimed Mrs. Bardell, frantically; "I'll never leave you y-dear, kind, good soul;" and with these words Mrs. Bardell clung the tighter. The Bobolink. ALDINE. 1. Once, on a golden afternoon, With radiant faces and hearts in tune, Two fond lovers, in dreaming mood, Threaded a rural solitude. Wholly happy, they only knew That the earth was bright and the sky was blue, That light and beauty and joy and song Charmed the way as they passed along : The air was fragrant with woodland scents ; The squirrel fiisked on the roadside fence \ 350 Science of Elocution. And hovering near them, " Chee, chee, chink? " Queried the curious bobolink, Pausing and peering with sidelong head, As saucily questioning all they said ; While the ox-eye danced on its slender stem, And all glad nature rejoiced with them. Over the odorous fields were strewn Wilting windrows of grass new mown, And rosy billows of clover bloom Surged in the sunshine and breathed perfume. Swinging low on a slender limb, The sparrow warbled his wedding hymn, And balancing on a blackberry brier, The bobolink sung with his heart on fire, Chee, chee chink ! "If you wish to kiss her, do! Do it, do it ! You coward, you ! Kiss her ! kiss her, kiss her ! Who will see ? Only we three ! we three 1 we three I " 2. Past wide meadow-fields, lately mowed, Wandered the indolent country road. The lovers followed it, listening still, And loitering slowly, as lovers will, Entered a gray-roofed bridge that lay Dusk and cool, in their pleasant way. Under its arch a smooth, brown stream, Silently glided with glint and gleam, Shaded by graceful elms which spread Their verdurous canopy overhead The stream so narrow, the bough so wide, They met and mingled across the tide. Alders loved it, and seemed to keep Patient watch as it lay asleep, Mirroring clearly the trees and sky, And the flitting form of the dragon-fly, Save where the swift-winged swallow played In and out in the sun and shade, And darting and circling in merry chase, Dipped and dimpled its clear, dark face. Dramatic Style. 351 Fluttering lightly from brink to brink, Followed the garrulous bobolink, 2. Rallying loudly with mirthful din, The pair who lingered unseen within. And when from the friendly bridge at last Into the road beyond they passed, Again beside them the tempter went, Keeping the thread of his argument "Kiss her! kiss her! chink-a-chee-chee ! I'll not mention it ! Don't mind me ! I'll be sentinel I can see All around from this tall birch tree ! " But ah ! they noted nor deemed it strange In his rollicking chorus a trifling change, u Do it ! do it ! " with might and main Warbled the tell-tale " Do it again! " Pictures of Memory. ALICE CABY. Among the beautiful pictures That hang on Memory's wall, Is one of a dim old forest, That seemeth best of all. Not for its gnarled oaks olden, Dark with the mistletoe ; Not for the violets golden That sprinkle the vale below; Not for the milk-white lilies That lean from the fragrant ledge, Coquetting all day with the sunbeams, And stealing their golden edge ; Not for the vines on the upland Where the bright red berries rest, Nor the pinks, nor the pale, sweet cowslip, It seemeth to me the best. 352 Science of Elocution. 2. I once had a little brother With eyes that were dark and deep; In the lap of that dim old forest, He lieth in peace asleep. Light as the down of the thistle, Free as the winds that blow, We roved there, the beautiful summers, The summers of long ago ; But his feet on the hills grew weary, And, one of the autumn eves, I made for my little brother A bed of the yellow leaves. 3. Sweetly his pale arms folded My neck in a meek embrace, As the light of immortal beauty Silently covered his face ; And when the arrows of sunset Lodged in the tree-tops bright, He fell, in his saint-like beauty, Asleep by the gates of light. 4. Therefore, of all the pictures That hang on Memory's wall, The one of the dim old forest Seemeth the best of all. Sandalphon. H. W. LONGFELLOW. 1. Have you read in the Talmud of old, In the Legends the Rabbins have told Of the limitless realms of the air, Have you read it, the marvelous story Of Sandalphon, the Angel of Glory, Sandalphon, the Angel of Prayer ? 2. How, erect, at the outermost gates Of the City Celestial he waits, Oratorical Style. 353 With his feet on the ladder of light, That, crowded with angels unnumbered, By Jacob was seen, as he slumbered Alone in the desert at night ? 3. The Angels of Wind and of Fire Chant only one hymn, and expire With the song's irresistible stress ; Expire in their rapture and wonder, As harp -strings are broken asunder By music they throb to express. 4. But, serene in the rapturous throng, Unmoved by the rush of the song, With eyes unimpassioned and slow, Among the dead angels, the deathless Sandalphon stands listening, breathless, To sounds that ascend from below ; 5. From the spirits on Earth that adore, From the souls that entreat and implore In the fervor and passion of prayer ; From the hearts that are broken with losses, And weary with dragging the crosses Too heavy for mortals to bear. tf . And he gathers the prayers as he stands, And they change into flowers in his hands, Into garlands of purple and red ; And beneath the great arch of the portal, Through the streets of the City Immortal Is wafted the fragrance they shed. 7. It is but a legend, I know, A fable, a phantom, a show, Of the ancient Rabbinical lore : Yet the old mediaeval tradition, The beautiful, strange superstition, But haunts me and holds me the more. 23 354 Science of Elocution. 8. When I look from my window at night, And the welkin above is all white, All throbbing and panting with stars, Among them majestic is standing Sandalphon the angel, expanding His pinions in nebulous bars. 9. And the legend, I feel, is a part Of the hunger and thirst of the heart, The frenzy and fire of the brain, That grasps at the fruitage forbidden, The golden pomegranates of Eden, To quiet its fever and pain. The Blacksmith's Story. FRANK OLIVE. 1. Well, no! My wife aint dead, sir, but I've lost her all the same ; She left me voluntarily, and neither was to blame. It's rather a queer story, and I think you will agree When you hear the circumstances 'twas rather rough on me. 2. She was a soldier's widow. He was killed at Malvern Hill ; And when I married her she seemed to sorrow for him still; But I brought her here to Kansas, and I never want to see A better wife than Mary was for five bright years to me. 3. The change of scene brought cheerfulness, and soon a rosy glow Of happiness warmed Mary's cheeks and melted all their snow. I think she loved me some, I'm bound to think that of her, sir; And as for me, I can't begin to tell how I loved her! 4. Three years ago the baby came our humble home to bless; And then I reckon I was nigh to perfect happiness ; Deamatio Style. 355 'Twas hers, 'twas mine ; but I've no language to explain to you, How that little girl's weak fingers our hearts together drew! 5. Once we watched it through a fever, and with each gasp- ing breath, Dumb with an awful, wordless woe, we waited for its death; And, though I'm not a pious man, our souls together there, For Heaven to spare our darling, went up in voiceless prayer. 6. And, when the doctor said 'twould live, our joy what words could tell? Clasped in each other's arms, our grateful tears together fell. Sometimes, you see, the shadow fell across our little nest, But it only made the sunshine seem a doubly welcome guest. 7. Work came to me a plenty, and I kept the anvil ringing ; Early and late you'd find me there a-hammering and sing- ing; Love nerved my arm to labor, and moved my tongue to song, And, though my singing wasn't sweet, it was tremendous strong ! 8. One day a one-armed stranger stopped to have me nail a shoe, And, while I was at work, we passed a compliment or two; I asked him how he lost his arm. He said 'twas shot away At Malvern Hill. "Malvern Hill ! Did you know Robert May?" 9. "That's me," said he. "You, you!" I gasped, choking with horrid doubt ; " If you're the man, just follow me; we'll try this mystery out!" 356 Science of Elocution. With dizzy steps, I led him in to Mary. God! 'Twas true ! Then the bitterest pangs of misery, unspeakable, I knew. 10. Frozen with deadly horror, she stared with eyes of stone, And from her quivering lips there broke one wild, de- spairing moan. 'Twas he I the husband of her youth, now risen from the dead, But all too late ; and, with bitter cry, her senses fled. 11. "What could be done ? He was reported dead. On his re- turn He strove in vain some tidings of his absent wife to learn. 'Twas well that he was innocent! Else I'd have killed him, too, So dead he never would have riz till Gabriel's trumpet blew! 12. It was agreed that Mary then between us should decide, And each by her decision would sacredly abide. No sinner, at the judgment-seat, waiting eternal doom, Could suffer what I did, while waiting sentence in that room. 13. Rigid and breathless, there we stood, with nerves as tense as steel, While Mary's eyes sought each white face, in piteous ap- peal. God ! could not woman's duty be less hardly reconciled Between her lawful husband and the father of her child ? 14. Ah, how my heart was chilled to ice, when she knelt down and said, "Forgive me, John! He is my husband ! Here! Alive! not dead ! " I raised her tenderly, and tried to tell her she was right, But somehow, in my aching breast, the prisoned words stuck tight ! Oratorical Style. 357 15. "But, John, I can't leave baby." "What! wife and child ! " cried I ; " Must I yield all ! Ah, cruel fate ! Better that I should die. Think of the long, sad, lonely hours, waiting in gloom for me, No wife to cheer me with her love, no babe to climb my knee! 16. And yet you are her mother, and the sacred mother-love Is still the purest, tenderest tie that Heaven ever wove. Take her; but promise, Mary, for that will bring no shame, My little girl shall bear, and learn to lisp, her father's name ! " 17. It may be, in the life to come, I'll meet my child and wife; But yonder, by my cottage gate, we parted for this life ; One long hand-clasp from Mary, and my dream of love was done ! One long embrace from baby, and my happiness was gone ! Toussaint L'Ouverture. WENDELL PHILLIPS. If I were to tell you the story of Napoleon, I should take it from the lips of Frenchmen, who find no language rich enough to paint the great captain of the nineteenth century. Were I to tell you the story of Washington, I should take it from your hearts you who think no marble white enough on which to carve the name of the father of his country. But I am to tell you the story of a Negro, Toussaint L'Ouverture, who has left hardly one written line. I am to glean it from the reluct- ant testimony of his enemies, men who despised him because he was a Negro and a slave, hated him because he had beaten them in battle. Cromwell manufactured his own army. Napoleon, at the age of twenty-seven, was placed at the head of the best troops Europe ever saw. Cromwell never saw an army till he was 358 Science of Elocution. forty ; this man never saw a soldier till he was fifty. Crom- well manufactured his own army out of what ? Englishmen ^the best blood in Europe. Out of the middle class of En- glishmen the best blood of the island. And with it he con- quered what ? Englishmen their equals. This man manu- factured his army out of what ? Out of what you call the despicable race of Negroes, debased, demoralized by two hun- dred years of slavery, one hundred thousand of them imported into the island within four years, unable to speak a dialect intelligible even to each other. Yet out of this mixed, and, as you say, despicable mass he forged a thunder-bolt and hurled it at what ? At the proudest blood in Europe, the Spaniard, and sent him home conquered ; at the most warlike blood in Europe, the French, and put them under his feet ; at the pluckiest blood in Europe, the English, and they skulked home to Jamaica. Now, if Cromwell was a general, at least this man was a soldier. Now, blue-eyed Saxon, proud of your race, go back with me to the commencement of the century, and select what states- man you please. Let him be either American or European ; let him have a brain the result of six generations of culture ; let him have the ripest training of university routine ; let him add to it the better education of practical life ; crown his tem- ple with the silver locks of seventy years, and show me the man of Saxon lineage for whom his most sanguine admirer will wreathe a laurel rich as embittered foes have placed on the brow of this Negro rare military skill, profound knowledge of human nature, content to blot out all party distinctions, and trust a State to the blood of its sons anticipating Sir Robert Peel fifty years, and taking his station by the side of Roger Williams before any Englishman or American had won the right ; and yet this is the record which the history of rival Slates makes up for this inspired black of St. Domingo. Some doubt the courage of the Negro. Go to Hayti, and stand on those fifty thousand graves of the best soldiers France ever had, and ask them what they think of the Negro's sword. I would call him Napoleon, but Napoleon made his way to empire over broken oaths and through a sea of blood. This man never broke his word. I would call him Cromwell, but Cromwell was only a soldier, and the State he founded went Dramatic Style. 359 down with him into his grave. I would call him "Washington, but the great Virginian held slaves. This man risked his empire rather than permit the slave-trade in the humblest vil- lage of his dominions. You think me a fanatic, for you read history, not with your eyes but with your prejudices. But fifty years hence, when Truth gets a hearing, the Muse of history will put Phocion for the Greek, Brutus for the Roman, Hampden for England, Fay- ette for France, choose "Washington as the bright consummate flower of our earlier civilization, then, dipping her pen in the sunlight, will write in the clear blue, above them all, the name of the soldier, the statesman, the martyr, Toussaint L'OUVERTURE. The Merchant of Venice. Scene i. Act iii. SHAKESPEARE. Sol. How now, Shylock; Avhat news among the merchants ? Shy. You knew, none so well, none so well as you, of my daughter's flight. Sol. That's certain; I, for my part, knew the tailor that made the wings she flew withal. Sala. And Shylock, for his own part, knew the bird was fledged; and then it is the complexion of them all to leave the dam. Shy. She is damned for it. Sol. That's certain, if the devil may be her judge. Shy. My own flesh and blood to rebel ! Sala. But tell us, do you hear whether Antonio have had any loss at sea or no? Shy. There I have made another bad match : a bankrupt, a prodigal, who dare scarce show his head on the Rialto; a beggar, that was used to come so smug upon the mart. Let him look to his bond : he was wont to call me usurer ; let him look to his bond : he was wont to lend money for a Christian courtesy ; let him look to his bond. Sol. "Why, I am sure, if he forfeit, thou wilt not take his flesh; what's that good for? Shy. To bait fish withal: if it will feed nothing else, it 360 Science of Elocution. will feed my revenge. He hath disgraced me, and hindered me half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies; and what's his reason? I am a Jew. Hath not a Jew eyes ? hath not a Jew hands, organs, dimensions, senses, affections, passions ? fed with the same food, hurt with the same weapons, subject to the same dis- eases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is ? If you prick us, do we not bleed ? if you tickle us, do we not laugh ? if you poison us, do we not die ? and if you wrong us, shall we not revenge ? if we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility ? revenge. If a Christian wrong a Jew, what should his suffer- ance be by Christian example ? why, revenge. The villainy you teach me I will execute ; and it shall go hard but I will better the instruction. Sola. Here comes another of the tribe ; a third cannot be matched, unless the devil himself turn Jew. Shy. How now, Tubal, what news from Genoa ? hast thou found my daughter ? Tub. I often came where I did hear of her, but cannot find her. Shy. Why, there, there, there, there ! a diamond gone, cost me two thousand ducats in Frankfort ! The curse never fell upon our nation till now ; I never felt it till now : two thou- sand ducats in that; and other precious, precious jewels. I would my daughter were dead at my foot, and the jewels in her ear ! would she was hearsed at my foot, and the ducats in her coffin ! No news of them ? Why, so : and I know not what's spent in the search. Why, thou loss upon loss ! the thief gone with so much, and so much to find the thief ; and no satisfaction, no revenge; nor no ill luck stirring but what lights o' my shoulders; no sighs but o' my breathing; no tears but o' my shedding. Tub. Yes, other men have ill luck too ; Antonio, as I heard in Genoa, Shy. What, what, what ? ill luck, ill luck, ill luck ? Tub. Hath an argosy cast away, coming from Tripolis. Shy. I thank God, I thank God : is it true ? is it true ? Deamatic Style. 361 Tub. I spoke with some of the sailors that escaped the wreck. Shy. I thank thee, good Tubal; good news, good news: ha! ha! Where ? in Genoa ? Tub. Your daughter spent in Genoa, as I heard, one night, fourscore ducats. Shy. Thou stick'st a dagger in me : I shall never see my gold again. Fourscore ducats at a sitting! fourscore ducats! Tub. There came divers of Antonio's creditors in my com- pany to Venice, that swear he cannot choose but break. Shy. I am very glad of it : I'll plague him ; I'll torture him ; I am glad of it. Tvh. One of them shewed me a ring, that he had of your daughter for a monkey. Shy. Out upon her ! Thou torturest me, Tubal : it was my torquoise: I had it of Leah when I was a bachelor: I would not have given it for a wilderness of monkeys. Tvb. But Antonio is certainly undone. Shy. Nay, that's true, that's very true. Go, Tubal, fee me an officer, bespeak him a fortnight before : I will have the heart of him, if he forfeit ; for were he out of Venice, I can make what merchandise I will. Go, go, Tubal, and meet me at our synagogue ; go, good Tubal ; at our synagogue, Tubal. Our Folks. ETHEL LYNN. "Hi! Harry Holly! Halt; and tell A fellow just a thing or two : You've had a furlough, been to see How all the folks in Jersey do. It's months ago since I was there I, and a bullet from Fair Oaks : When you were home old comrade, say, Did you see any of our folks ? You did ? Shake hands ; O, aint I glad ? For, if I do look grim and rough, I've got some feelin' 362 Science of Elocution. 2. "People think A soldier's heart is mighty tough ; But, Harry, when the bullets fly, And hot saltpeter flames aud smokes, While whole battalions lie afield, One's apt to think about his folks. 3. " And so you saw them when ? and where ? The old man is he hearty yet ? And mother does she fade at all ? Or does she seem to pine and fret For me ? And sis ? has she grown tall ? And did you see her friend you know That Annie Moss (How this pipe chokes!) Where did you see her ? tell me, Hal, A lot of news about our folks. 4. " You saw them in the church you say : It's likely, for they're always there. Not Sunday ? no ? A funeral ? Who ? Who, Harry ? how you shake and stare ! All well, you say, and all were out ; What ails you, Hal ? Is this a hoax ? Why don't you tell me, like a man, What is the matter with our folks ? " 5. "I said all well, old comrade, true, I say all well, for He knows best Who takes the young ones in his arms, Before the sun goes to the west. The ax-man Death deals right and left, And flowers fall as well as oaks ; And so 6. "Fair Annie blooms no more ! And that's the matter with your folks. See, this brown curl was kept for you ; And this white blossom from her breast; And here your sister Bessie wrote A letter, telling all the rest. Bear up, old friend." Dramatic Style. 363 7. Nobody speaks; Only the old camp raven croaks, And soldiers whisper : "Boys, be still; There's some bad news from Grainger's folks." He turns his back the only foe That ever saw it on his grief, And, as men will, keeps down the tears Kind Nature sends to Woe's relief. Then answers he : 8. "Ah, Hal, I'll try ; But in my throat there's something chokes, Because, you see, I've thought so long To count her in among our folks. 9. " I s'pose she must be happy now; But still I will keep thinking too, I could have kept all trouble off, By being tender, kind, and true ; But may be not. " She's safe up there; And when His hand deals other strokes, She'll stand by heaven's gate, I know, And wait to welcome in our folks." Lasca. F. DESPREZ. 1. I want free life and I want fresh air; And I sigh for the canter after the cattle, The crack of the whips like shots in battle, The mellay of horns and hoofs and heads That wars and wrangles and scatters and spreads; The green beneath and the blue above, And dash and danger, and life and love, And Lasca! 2. Lasca used to ride On a mouse-gray mustang, close to my side, 364 Science of Elocution. With blue serdpe and bright-belled spur ; I laughed with joy when I looked at her! Little knew she of books or creeds ; An Ave Maria sufficed her needs ; Little she cared, save to be by my side, To ride with me, and ever to ride, From San Saba's shore to Lavaca's tide. She was as bold as the billows that beat, She was as wild as the breezes that blow; From her little head to her little feet She was swayed, in her suppleness, to and fro By each gust of passion ; a sapling pine, That grows on the edge of a Kansas bluff, And wars with the wind when the weather is rough, Is like this Lasca, this love of mine. She would hunger that i might eat, Would take the bitter and leave me the sweet; But once, when I made her jealous for fun, At something I'd whispered, or looked, or done, One Sunday, in San Antonio, To a glorious girl on the Alamo, She drew from her girdle a dear little dagger, And sting of a wasp ! It made me stagger ! An inch to the left or an inch to the right, And I shouldn't be maundering here to-night; But she sobbed, and, sobbing, so swiftly bound Her torn reboso about the wound That I quite forgave her. Scratches don't count In Texas, down by the Rio Grande. o. Her eye was brown a deep, deep brown ; Her hair was darker than her eye ; And something in her smile and frown, Curled crimson lip, and instep high, Showed that there ran in each blue vein, Mixed with the milder Aztec strain, The vigorous vintage of old Spain. The air was heavy, the night was hot, I sat by her side, and forgot forgot ; Dramatic Style. 365 Forgot the herd that were taking their rest ; Forgot that the air was close opprest, That the Texas norther comes sudden and soon, In the dead of night or the blaze of noon; That once let the herd at its breath take fright, And nothing on earth can stop the flight ; And woe to the rider, and woe to the steed, Who falls in front of their mad stampede ! Was that thunder? No, by the Lord ! I spring to my saddle without a word. One foot on mine, and she clung behind. Away on a hot chase down the wind ! But never was fox-hunt half so hard, And never was steed so little spared. For we rode for our lives. You shall hear how we fared In Texas, down by the Rio Grande. 4. The mustang flew, and we urged him on ; There is one chance left, and you have but one Halt, jump to ground, and shoot your horse ; Crouch under his carcass, and take your chance ; And if the steers, in their frantic course, Don't batter you both to pieces at once, You may thank your star ; if not, good-bye To the quickening kiss and the long-drawn sigh, And the open air and the open sky, In Texas, down by the Rio Grande. 5. The cattle gained on us and then I felt For my old six-shooter, behind in my belt ; Down came the mustang, and down came we, Clinging together, and what was the rest? A body that spread itself on my breast, Two arms that shielded my dizzy head, Two lips that hard on my lips were pressed; Then came thunder in my ears As over us surged the sea of steers; Blows that beat blood into my eyes, And when I could rise Lasca was dead. 366 Science of Elocution. 6. I dug out a grave a few feet deep, And there in Earth's arms I laid her to sleep; And where she is lying no one knows, And the summer shines and the winter snows ; And for many a day the flowers have spread A pall of petals over her head ; And the little gray hawk hangs aloof in the air, And the sly coyote trots here and there, And the black snake glides and glitters and slides Into the rift in a cotton- wood tree ; And the buzzard sails on, And comes and is gone. Stately and still as a ship at sea ; And I wonder why I do not care For the things that are like the things that were. Does half my heart lie buried there In Texas, down by the Rio Grande? No Sects in Heaven. MBS. E. H. J. CLEAVELAND. 1. Talking of sects till late one eve, Of the various doctrines, the saints believe, That night I stood, in a troubled dream, By the side of a darkly flowing stream. 2. And a Churchman down to the river came ; When I heard a strange voice call his name, 1 ' Good father, stop ; when you cross this tide. You must leave your robes on the other side.' 1 3. But the aged father did not mind ; And his long gown floated out behind, As down to the stream his way he took, His pale hands clasping a gilt-edged book : 4. " I'm bound for Heaven; and, when I'm there, I shall want my Book of Common Prayer; And, though I put on a starry crown, I should feel (juite lost without my gown." Dramatic Style. 367 5. Then he fixed his eyes on the shining track, But his gown was heavy and held him back, And the poor old father tried in vain, A single step in the flood to gain. 6. I saw him again on the other side, But his silk gown floated on the tide ; And no one asked in that blissful spot, Whether he belonged to " the Church " or not. 7. Then down to the river a Quaker strayed; His dress of a sober hue was made : "My coat and hat must all be gray I cannot go any other way." 8. Then he buttoned his coat straight up to his chin, And staidly, solemnly, waded in, And his broad-brimmed hat he pulled down tight Over his forehead so cold and white. 9. But a strong wind carried away his hat ; A moment he silently sighed over that ; And then, as he gazed on the farther shore, His coat slipped off, and was seen no more ; 10. As he entered Heaven, his suit of gray "Went quietly sailing, away, away ; And none of the angels questioned him About the width of his beaver's brim. 11. Next came Dr. Watts, with a bundle of psalms Tied nicely up in his aged arms, And hymns as many a very wise thing That the people in Heaven, "all around " might sing. 12. But I thought that he heaved an anxious sigh, When he saw that the river ran broad and high, And looked rather surprised, as one by one The psalms and the hymns in the waves went down. 13. And after him, with his MSS., Came Wesley, the pattern of godliness ; 368 Science of Elocution. But he cried, " Dear me ! what shall I do ? The water has soaked them through and through." 14. And there on the river, far and wide, Away they went down the swollen tide ; And the saint, astonished, passed through alone, Without his manuscripts, up to the throne. 15. Then, gravely walking, two saints by name Down to the river together came ; But, as they stopped at the river's brink, I saw one saint from the other shrink. 16. " Sprinkled or plunged ? may I ask you friend, How you attained to life's great end I " " Thus, with a few drops on my brow," "But /have been dipped, as you'll see me now; 17. " And I really think it will hardly do, As I'm ' close communion,' to cross with you: You're bound, I know, to the realms of bliss, But you must go that way, and I'll go this." 18. Then straightway plunging with all his might, Away to the left his friend to the right Apart they went from this world of sin, But at last together they entered in. 19. And now, when the river was rolling on, A Presbyterian Church went down; Of women there seemed an innumerable throng, But the men I could count as they passed along. 30. And concerning the road they could never agree, The old or the new way, which it could be, Nor ever a moment paused to think That both would lead to the river's brink. 31. And a sound of murmuring, long and loud, Came ever up from the moving crowd : "You're in the old way, and I'm in the new; That is the false, and this is the true : " Dramatic Style. 369 Or, " I'm in the old way, and you're in the new; That is the false, and this is the true." 22. But the brethren only seemed to speak: Modest the sisters walked and meek, And, if one of them ever chanced to say What troubles she met with on the way, How she longed to pass to the other side, Nor feared to cross over the swelling tide, A voice arose from the brethren then : "Let no one speak but the 'holy men; ' For have ye not heard the words of Paul, 1 O, let the women keep silence all ? ' " 23. I watched them long in my curious dream, Till they stood by the borders of the stream: Then, just as I thought, the two ways met; But all the brethren were talking yet, And would talk on till the heaving tide Carried them over side by side Side by side, for the way was one : The toilsome journey of life was done ; And all who in Christ the Saviour died Came out alike on the other side. 24. No forms or crosses or books had they; No gowns of silk or suits of gray; No creeds to guide them, or MSS., For all had put on Christ's righteousness. Poor little Joe. PELEG ARKWKIQHT. 1. "Prop yer eyes wide open, Joey, Fur I've brought you sumpin' great. Apples? No, a heap sight better! Don't you take no int'rest ? Wait ! Flowers, Joe I knowed you'd like 'em Aint them scrumptious ? Aint them high I Tears, my boy ? Wot's them fur, Joey ? There poor little Joe ! don't cry I 24 370 Science of Elocution. 2. " I was skippin' past a winder, "Where a bang-up lady sot, All amongst a lot of bushes Each one climbin' from a pot ; Every bush had flowers on it Pretty? Mebbe not! O, no! Wish you could a seen 'em growing It was sich a stunnin' show. 3. " Well, I thought of you, poor feller, Lyin' here so sick and weak, Never knowin' any comfort, And I puts on lots o' cheek . * Missus, 1 says I, * If you please, mum, Could I ax you for a rose ? For my little brother, missus Never seed one, I suppose.* 4. " Then I told her all about you " How I bringed you up poor Joe! (Lackin' women folks to do it.) Sich a' imp you was, you know- Till yer got that awful tumble, Jist as I had broke yer in (Hard work, too) to earn yer livin' Blackin' boots for honest tin. 5. "How that tumble crippled of you, So's you couldn't hyper much Joe, it hurted when I seen you Fur the first time with yer crutch. 1 But,' I says, ' he's laid up now, mum> 'Pears to weaken every day ; Joe, she up and went to cuttin' That's the how of this bokay. 6. " Say! It seems to me, ole feller, You is quite yerself to-night; Kind o' chirk it's been a fortni't Sence yer eyes has been so bright. Dramatic Style. 371 Better? Well, I'm glad to hear it! Yes, they're mighty pretty, Joe. Smellin' of 'em's made you happy ? Well, I thought it would, you know! 7. " Never see the country, did you ? Flowers growin' every- where ! Sometime when you're better, Joey, Mebbe I kin take you there. Flowers in heaven ? 'M I s'pose so; Dunno much about it, though; Aint as fly as wot I might be On them topics, little Joe. 8. " But I've heard it hinted somewheres That in heaven's golden gates Things is everlastin' cheerful B'lieve that's wot the Bible states. Likewise, there folks don't git hungry; So good people, when they dies, Finds themselves well fixed forever Joe, my boy, wot ails your eyes ? 9. " Thought they looked a little sing'ler. O, no ! Don't you have no fear ; Heaven was made fur such as you is Joe, wot makes you look so queer ? Here wake up ! O, don't look that way ! Joe ! My boy ! Hold up yer head ! Here's yer flowers you dropped 'em, Joey O, my God ! can Joe be dead ? " How the Old Horse Won the Bet. OLIVER WENDELL HOLMES. 'Twas on the famous trotting-ground, The betting men were gathered round From far and near ; the "cracks" were there Whose deeds the sporting prints declare : S72 Science of Elocution. The swift g. m., Old Hiram's nag, The fleet s. h., Don Pfeiffer's brag, With these a third and who is he That stands beside his fast b. g. ? Budd Doble, whose catarrhal name So fills the nasal trump of fame. There, too, stood many a noted steed Of Messenger, and Morgan breed ; Green horses also, not a few Unknown as yet what they could do ; And all the hacks that know so well The scourgings of the Sunday swell. 2. Blue are the skies of opening day ; The bordering turf is green with May; The sunshine's golden gleam is thrown On sorrel, chestnut, bay, and roan ; The horses paw and prance and neigh; Fillies and colts like kittens play, And dance and toss their rippled manes Shining and soft as silken skeins; Wagons and gigs are ranged about, And fashion flaunts her gay turnout : Here stands each youthful Jehu's dream The jointed tandem, ticklish team ! And there in ampler breadth expand The splendors of the four-in-hand ; On faultless ties and glossy tiles The lovely bonnets beam their smiles ; (The style's the man, so books avow ; The style's the woman anyhow ;) From flounces frothed with creamy lace Peeps out the pug-dog's smutty face, Or spaniel rolls his liquid eye, Or stares the wiry pet of Skye, O woman, in your hours of ease So shy with ua ; so free with these! 3. " Come on ! I'll bet you two to one I'll make him do it ! " " Will you ? Done ! " Dramatic Style. 373 What was it who was bound to do ? I did not hear, and can't tell you ; Pray listen till my story's through. 4. Scarce noticed, back behind the rest, By cart and wagon rudely prest, The parson's lean and bony bay, Stood harnessed in his one-horse shay Lent to his sexton for the day. (A funeral so the sexton said ; His mother's uncle's wife was dead.) Like Lazarus bid to Dives's feast, So looked the poor forlorn old beast ; His coat was rough, his tail was bare, The gray was sprinkled in his hair : Sportsmen and jockeys knew him not, And yet they say he once could trot Among the fleetest of the town, Till something cracked and broke him down-^ The steed's the statesman's common lot! "And are we then so soon forgot ? " Ah me ! I doubt if one of you Has ever heard the name " Old Blue," Whose fame through all this region rung In those old days when I was young ! 5. " Bring forth the horse ! " Alas ! he showed Not like the one Mazeppa rode : Scant-maned, sharp-backed and shaky-kneed, The wreck of what was once a steed Lips thin, eyes hollow, stiff in joints ; Yet not without his knowing points. The sexton laughing in his sleeve, As if 'twere all a make-believe, Led forth the horse, and as he laughed Unhitched the breeching from a shaft, Unclasped the rusty belt beneath, Drew forth the snaffle from his teeth, Slipped off his head-stall, set him free From strap and rein a sight to see ! S14 Science of Elocution. 6. So worn, so lean in every limb, It can't be they are saddling him ! It is ! His back the pig-skin strides, And flaps his lank rheumatic sides; With look of mingled scorn and mirth They buckle round the saddle-girth ; With horsey wink and saucy toss A youngster throws his leg across. And so, his rider on his back, They lead him, limping, to the track, Far up behind the starting-point, To limber out each stiffened joint. 7. As through the jeering crowd he passed, One pitying look old Hiram cast ; " Go it, ye cripple, while ye can ! " Cried out unsentimental Dan ; " A fast-day dinner for the crows ! " Budd Doble's scoffing shout arose, 8. Slowly, as when the walking-beam First feels the gathering head of steam, With warning cough and threatening wheeze The stiff old charger crooks his knees ; At first with cautious step sedate, As if he dragged a coach of state ; He's not a colt ; he knows full well That time is weight and sure to tell ; No horse so sturdy but he fears The handicap of twenty years. 9. As through the throng on either hand The old horse nears the judges' stand, Beneath his jockey's feather-weight He warms a little to his gait, And now and then a step is tried That hints at something like a stride. 10. " Go ! " Through his ear the summons stung, As if a battle-trump had rung ; The slumbering instincts long unstirred Start at the old familiar word ; Dramatic Style. 375 It thrills like flame through every limb What mean his twenty years to him ? The savage blow his rider dealt Fell on his hollow flanks unf elt ; The spur that pricked his staring hide Unheeded tore his bleeding side ; Alike to him are spur and rein He steps a five-year-old again ! 11. Before a quarter pole was passed, Old Hiram said, " He's going fast." Long ere the quarter was a half, The chuckling crowd had ceased to laugh ; Tighter his frightened jockey clung As in a mighty stride he swung, The gravel flying in his track, His neck stretched out, his ears laid back, His tail extended all the while Behind him like a rat-tail file ! Off went a shoe away it spun, Shot like a bullet from a gun ; The quaking jockey shapes a prayer From scraps of oaths he used to swear; He drops his whip, he drops his rein, He clutches fiercely for a mane ; He'll lose his hold he sways and reels He'll slide beneath those trampling heels ! The knees of many a horseman quake, The flowers on many a bonnet shake, And shouts arise from left and right, "Stick on! stick on!" " Hould tight! hould tight!" " Cling round his neck; and don't let go That pace can't hold there! steady! whoa! w But, like the sable steed that bore The spectral lover of Lenore, His nostrils snorting foam and fire, No stretch his bony limbs can tire ; And now the stand he rushes by, And " Stop him ! stop him ! " is the cry. 376 Science of Elocution. 12. " Stand back! he's only just begun He's having out three heats in one ! " " Don't rush in front! he'll smash your brains; But follow up and grab the reins ! " Old Hiram spoke. Dan Pfeiffer heard, And sprang, impatient, at the word : Budd Doble started on his bay, Old Hiram followed on his gray, And oif they spring, and round they go, The fast ones doing " all they know," Look ! twice they follow at his heels, As round the circling course he wheels, And whirls with him that clinging boy Like Hector round the walls of Troy. Still on, and on, the third time round ! They're tailing off ! they're losing ground ! Budd Doble's nag begins to fail ! Dan PfeifEer's sorrel whisks his tail ! And see ! in spite of whip and shout, Old Hiram's mare is giving out ! 13. Now for the finish! At the turn, The old horse all the rest astern Comes swinging in, with easy trot ; By Jove ! he's distanced all the lot ! That trot no mortal could explain ; Some said, " Old Dutchman come again! " Some took his time at least, they tried, But what it was could none decide ; One said he couldn't understand What happened to his second-hand ; One said 2:10; that couldn't be More like two twenty-two or three ; Old Hiram settled it at last : " The time was two too mighty fast! " 14. The parson's horse had won the bet ; It cost him something of a sweat ; Back in the one-horse shay he went. The parson wondered what it meant, Dramatic Style. 37' And murmured, with a mild surprise And pleasant twinkle of the eyes, "That funeral must have been a trick, Or corpses drive at double quick ; I shouldn't wonder, I declare, If Brother Murray made the prayer ! " And this is all I have to say About the parson's poor old bay, The same that drew the one-horse shay. Moral for which this tale is told : A horse can trot, for all he's old. Robert of Lincoln. W. C. BRYANT. 1. Merrily swinging on brier and weed, Near to the nest of his little dame, Over the mountain-side or mead, Robert of Lincoln is telling his name : Bob-o'-link, bob-o'-link, Spink, spank, spink; Snug and safe is that nest of ours, Hidden among the summer flowers, Chee, chee, chee. 2. Robert of Lincoln is gayly dressed, Wearing a bright black wedding coat, White are his shoulders and white his crest, Hear him call in his merry note, Bob-o'-link, bob-o'link, Spink, spank, spink; Look, what a nice new coat is mine, Sure there was never a bird so fine. Chee, chee, chee. 3. Robert of Lincoln's Quaker wife, Pretty and quiet, with plain brown wings, Passing at home a patient life, Broods in the grass while her husband sings : 378 Science of Elocution. Bob-o'-link, bob-o'-link, Spink, spank, spink; Brood, kind creature ; you need not fear Thieves and robbers while I am here. Chee, chee, chee. 4. Modest and shy as a nun is she, One weak chirp is her only note, Braggart and prince of braggarts is he, Pouring boasts from his little throat : Bob-o'-link, bob-o'-link, Spink, spank, spink; Never was I afraid of man ; Catch me, cowardly knaves, if you can. Chee, chee, chee. 5. Six white eggs on a bed of hay, Flecked with purple, a pretty sight ! There, as the mother sits all day, Robert is singing with all his might : Bob-o'-link, bob-o'-link, Spink, spank, spink; Nice good wife, that never goes out, Keeping house while I frolic about. Chee, chee, chee. 6. Soon as the little ones chip the shell Six wide mouths are open for food ; Robert of Lincoln bestirs him well, Gathering seed for the hungry brood. Bob-o'-link, bob-o'-link, Spink, spank, spink; This new life is likely to be Hard for a gay young fellow like me. Chee, chee, chee. 7. Robert of Lincoln at length is made Sober with work and silent with care ; Off is his holiday garment laid, Half forgotten that merry air, Humorous Style. 379 Bob-o'-link, bob-o'-link, Spink, spank, spink; Nobody knows but my mate and I Where our nest and our nestlings lie. Chee, chee, chee. Summer wanes, the children are grown ; Fun and frolic no more he knows ; Robert of Lincoln's a humdrum crone ; Off he flies, and we sing as he goes : Bob-o'-link, bob-o'-link, Spink, spank, spink; When you can pipe that merry old strain, Robert of Lincoln, come back again. Chee, chee, chee. The Bald-Headed Man. The other day a lady, accompanied by her son, a very small boy, boarded a train at Little Rock. The woman had a care- worn expression hanging over her face like a tattered veil, and many of the rapid questions asked by the boy were answered by unconscious sighs. "Ma," said the boy, "that man's head is like a baby, aint it ? " pointing to a bald-headed man sitting just in front of them. "Hush!" " Why must I hush ? " After a few moments' silence, "Ma, what's the matter with that man's head ? " " Hush, I tell you. He's bald." "What's bald?" "His head hasn't got any hair on it." " Did it come off ? " "I guess so." "Will mine all come off ?" " Some time, may be." Then I'll be bald, wont I ? "Yes." 380 Science of Elocution. " Will you care ? " "Don't ask so many questions." After another silence, the boy exclaimed, ' ' Ma, there's a fly on that man's head." "If you don't hush, I'll whip you when we get home." " Look ! There's another fly. Two flies, see ; em fight." "Madam," said the man, putting aside a newspaper and looking around, "what's the matter with, that young hyena ? " The woman blushed, stammered out something, and at- tempted to smooth back the boy's hair. ' ' One fly, two flies, three flies, " said the boy. "Here, you young hedgehog, if you don't hush I'll have the conductor put you off the train." The poor woman, not knowing what else to do, boxed the boy's ears, and then gave him an orange to keep him from crying. "Ma, have I got any red marks on my head ? " " I'll whip you again if you don't hush." "Mister," said the boy, after a short silence, "does it hurt to be bald-headed ? " "Youngster," said the man, "if you'll keep quiet, I'll give you a quarter." The boy promised, and the money was paid over. " This is my bald-headed money," said the boy. "When I get bald-headed, I'm goin' to give boys money. Mister, have all bald-headed men got money ? " The Dead Doll. MARGARET VAHDEGRIFT. 1. You needn't be trying to comfort me: I tell you my dolly is dead ! There's no use in saying she isn't, with a crack like that in her head ! It's just like you said it wouldn't hurt much to have my tooth out that day ; And then, when the man most pulled my head off, you hadn't a word to say. Humorous Style. 381 2. And I guess you must think I'm a baby, when you say you can mend it with glue ! As if I didn't know better than that ! Why, just suppose it was you ! You might make her look all mended ; but what do I care for looks ? Why, glue's for chairs and tables and toys, and the backs of books ! 3. My dolly ! my own little daughter ! O, but it's the awfulest crack ! It just makes me sick to think of the sound when her poor head went whack Against that horrible brass thing that holds up the little shelf! Now, nursey, what makes you remind me ? I know that I did it myself ! 4. I think you must be crazy! You'll get her another head! What good would forty heads do her ? I tell you my dolly is dead ! And to think I hadn't quite finished her elegant new spring hat ! And I took a sweet ribbon of hers last night to tie on that horrid cat ! 5. When my mamma gave me that ribbon I was playing out in the yard She said to me most expressly, ll Here's a ribbon for Hildegarde." And I went and put it on Tabby, and Hildegarde saw me do it; But I said to myself, ' ' O, never mind ; I don't believe she knew it." 6. But I know that she knew it now; and I just believe, I do, That her poor little heart was broken, and so her head broke too. 382 Science of Elocution. O, my baby ! my little baby ! I wish my head had been hit! For I've hit it over and over, and it hasn't cracked a bit. 7. But, since the darling is dead, she'll want to be buried, of course. We will take my little wagon, nurse ; and you shall be the horse; And I'll walk behind, and cry ; and we'll put her in this you see This dear little box and we'll bury her under the maple- tree. 8. And papa will make me a tombstone like the one he made for my bird ; And he'll put what I tell him on it ; yes, every single word. I shall say, "Here lies Hildegarde, a beautiful doll, who is dead; She died of a broken heart, and a dreadful crack in her head." THE END. / 14 DAY USE RETURN TO DESK FROM WHICH BORROWED LOAN DEPT. This book is due on the last date stamped belo\wj*or on the date to which renewed. Renewed books are subject to immediate recall. 9Ma/63AEg r? - TD LD StP4 1963 Sim'MHK REC'D LD FEB19'64-9AM REC'D LD MAR1 73-xPM3 7 LD 21A-50m-ll,'62 r^^^Vn^ (D3279sl0)476B Umversrg^of California