UC-NRLF 
 
 $B 25fi tm 
 
LIBRARY 
 
 University of California. 
 
 Class I b FO 
 
Price, 25 Cents 
 
 DRILL BOOK 
 
 bCAL CULTURE 
 
 GESTURE 
 
 EDWARD P. THWING, M.D. 
 
 FUNK & WAGNALLS COMPANY 
 
 NEW YORK AND LONDON 
 
HOtV TO ENJOr THE ECSTAST THAT ACCOM- 
 PANIES SUCCESSFUL SPEAKING 
 
 Before An Audience 
 
 OR 
 
 The Use of the Will in Public Speaking 
 By NATHAN SHEPPARD 
 
 Ta/ks to the Stud''nts_ of the Uni'versity of &. Andre-iu and 
 the U/.i versify of Aberdeen. 
 
 This is not a book on elocution, but it deals in a 
 practical common- sense way with the requirements 
 and constituents of effective public speaking. 
 
 CAPITAL, FAMILIAR, AND RACY 
 
 " I shall recommend it to our three schools of elocution. It 
 is capital, familar, racy, and profoundly philosophical." — Joseph 
 T. Duryea, D.D. 
 
 REPLETE WITH PRACTICAL SENSE 
 '* It is replete with practical sense an(f sound suggestions, and 
 I should like to have it talked into the students by the author." 
 — Prof y. H. Gilmore^ Rochester University. 
 
 ** KNOCKS TO FLINDERS" OLD THEORIES 
 **The author knocks to flinders the theories of elocutionist, 
 and opposes all their rules with one simple counsel : * Wake up 
 your will.' " — The Neav York Evangelist, 
 
 TO REACH, MOVE, AND INFLUENCE MEN 
 
 '* He does not teach elocution, but the art of public speaking. 
 . . . Gives suggestions that will enable one to reach and move 
 and influence men. " — The Pittsburg Chronicle. 
 
 I2m0y Cloth ^ 1^2 Pages. Pricey yj cents 
 
 FUNK & WAGNALLS COMPANY, Publishers 
 NEW YORK AND LONDON 
 
DRILL BOOK 
 
 VOCAL CULTURE 
 
 GESTURE. 
 
 EDWAKD P. THWmG, M.D. 
 
 FUNK & WAGNALLS COMPANY, 
 NEW YORK AND LONDON. 
 
895 
 
 Copyright, 
 
 1. K. FUNK u, COMPANY 
 
 1876. 
 
COURSE OF STUDY. 
 
 Chapter I. Page 9, considers the importance and 
 method of Vocal Culture 
 
 Chapter II. Page 15, is a brief outline of preparatory 
 Physical Training by respiratory exercises and gym- 
 nasties. 
 
 Chapter III. Page 24, treats of Production of Tone i 
 the peculiarities of different voices and the method 
 of cultivating compass and purity. 
 
 Chapter IV, Page 37, is devoted t^ Articulation ol 
 elements, formation of syllables and division of 
 words. 
 
 Chapter V. Page 52, treats of Stress and Emphasis. 
 
 Chapter VI. Page 61, Inflection, Pitch, Melody, Force 
 and Rate of Movement. 
 
 Chapter VII. Page 73, Personation or picturing. 
 
 Chapter VIII. Page 77, Gesture and Extemporaneoof 
 Speech. 
 
 Chapter IX. Page 98, Facial Bixpression. 
 
 166086 
 
Digitized by the Internet Archive 
 
 in 2007 with funding from 
 
 Microsoft Corporation 
 
 http://www.archive.org/details/drillbookinvocalOOthwirich 
 
CLASSIFICATION OF TOPICS. 
 
 PAGE 
 
 Ambbicah pecnliaritics of 
 speech 12 
 
 AflFectation 11,38,103 
 
 Articulation 37 
 
 Austin, Rev. Gilbert .... 82, 88 
 
 Breathing, cautionary advice 17 
 Bassiui's methods .... 27, 34, 65 
 
 Bascom, Henry 73 
 
 Bacon on Gesture 85, 88, 93, 102 
 
 Bell, Sir Charles 98, 105 
 
 Beecher, Rev. H. W 48, 88 
 
 Barber, Dr., Table of conso- 
 nants 41, 49 
 
 Broadus, Dr 32,110 
 
 Brougham, Lord ; secret of 
 success 96 
 
 Culture and Nature 12 
 
 Comstock,Dr , 87 
 
 Cadence 59 
 
 Circumflexes 64 
 
 Dodge, Hon. W. E.. to young 
 ministers 11 
 
 Darwin, principles of expres- 
 sion 99 
 
 Delsarte's system of expres- 
 sion 105 
 
 Ear, write for the 96 
 
 Emphasis defined 57 
 
 Explosive tones, when proper 49 
 Extemporaneous Speech, its 
 
 advantages 95 
 
 English peculiarities 115 
 
 Gymnastics, their use 20 
 
 Gesture, 77. Rhetoric of..,. 93 
 
 Humphrey, President 48 
 
 Inflections, illustrations with 
 pianotorte 62 
 
 Kirk, Rev. Dr., quoted 11 
 
 Key and key-note 70 
 
 Lungs, their average capa- 
 city 26 
 
 Lewis, Dr. Dio 21, 29 
 
 Mouth, should be closed Ilk 
 sleep 85 
 
 PAea 
 
 Mara's voice 60 
 
 McHvaine, Prof 82, RO 
 
 Murdock, Prof. J, B 52 
 
 Marsh, George P., lectures.. 47 
 
 Melody 68 
 
 Monotone 69 
 
 Massillon's oratory 58 
 
 Monroe, Prof 17,22 
 
 Mackay, J. S., pupil of Del- 
 sarte 106 
 
 Nature and Habit..... ^ 18 
 
 Objections to Elocution con 
 
 sidered 11 
 
 Orotund voice 29 
 
 Production of Tone 24 
 
 Puberty 27 
 
 Purity of voice 83 
 
 Pitch 65 
 
 Physiognomy 98 
 
 Pantomime .* 78, 91 
 
 Phonetic Spelling 89 
 
 Payson, Dr. Edward 11, 67 
 
 Personation 73 
 
 Rush, Dr 14, 19, 50, 52, 65 
 
 Russell, Prof. W. . 19, 56, 67, 83 
 Roman drill in Elocution. ... 27 
 
 Randolph's eloquence 89 
 
 Registers of the voice &f 
 
 Seller, Madam 18, 84, 05 
 
 Streeter, Dr 18, 84, 66 
 
 Sprague, Prof 87 
 
 Stone, Rev. Dr. A. L 48 
 
 Stress 6S 
 
 Sing'ng and Elocution. . . 84, 66 
 
 Throat and Waist, should 
 
 not be compressea 16 
 
 Tobacco and the voice 86 
 
 The Temper 86 
 
 Voice Culture and Consump- 
 tion 10 
 
 Welch, Prof 31 
 
 Whitfield's oratory 59 
 
 Zachos* methods of 
 
 training 
 
PUBLISHERS' NOTE. 
 
 FIRST EDITION. 
 
 THIS unpretentious volume is intended to 
 meet the wants of students and professional 
 men in the direction of vocal training. It is the 
 result, not only of wide reading anc^ careful 
 study, but of practical experience on tlie part of 
 the author as a clergyman and a lecturer in vari- 
 ous institutions. 
 
 The course of study is simple, natural, and 
 progressive, embracing the culture of the vocal 
 powers, tlie taste, and the imagination. " I saw 
 much of Professor Thwing's labors in the Bos- 
 ton Normal Institute for Physical Education," 
 writes its President in 1871, ^^and found that 
 his methods were founded upon science and had 
 been greatly enriched by a long and varied expe- 
 rience in the use of his voice before public audi- 
 ences." Rev. T. De Witt Talmage, D.D., Presi- 
 dent of the Brooklyn Lay College, says : " I heart- 
 ily commend his book on Vocal Culture. He 
 has, in our Lay College, rendered valuable service 
 
PUBLISHERS' ]SrOTE. 
 
 in training the young men in the art of public 
 address/' The Kev. J. T. Duryea, D.D., to whose 
 scholarly criticism the work was committed in 
 manuscript, writes to the Publishers, expressing 
 his satisfaction in its fitness and excellence. They 
 are, therefore, confident that this volume, in its 
 comprehensiyeness, brevity, and compactness, 
 will meet the needs both of teacher and private 
 student. 
 
 By omitting orations, poems, and other selec- 
 tions, such as form the bulk of most elocutionary 
 manuals, the author has prepared — what is rare- 
 ly found — a cheap and portable drill book, con- 
 taining in a small compass a vast amount of help- 
 ful information on a much neglected 4^bjsct. 
 
VOCAL CULTURE. 
 
 CHAPTER I. 
 
 INTRODUCTORY. 
 
 What is Elocutioi^ ? Why should oki 
 study it and how ? 
 
 1. Elocution is the art of vocal expression. 
 The principles form a science, the application, 
 an art. Rhetoric has more to do with written 
 thought, although even this has its phonetic, as 
 well as logical, relations to persuasive speech. 
 
 2. But why train the voice? There are phys- 
 ical advantages resulting from Voice Culture. 
 The erect posture, expanded chest, deep breathing 
 and other vocal gymnastics, carefully and syste- 
 matically practiced, contribute to the vigor and 
 pliancy of the muscles, to arterial circulation and 
 to a healthful exhilaration of the whole system. 
 The care and training of the vocal organs with 
 attention to those hygienic rules required by the 
 elocutionist, tend to arrest the progress of pul- 
 
10 VOCAL CULTUBE. 
 
 monary disease, which in fatality, probably ex 
 ceeds all others. The amount of labor one can 
 do often depends less on muscle than on wind. 
 The development of the chest, when under 
 training, is marvellous. The measure of the chest 
 of the champion swimmer of the world is forty- 
 five inches, and fifty, when inflated. 
 A French author writes : 
 
 " All men who make it their profession to try wind 
 Instruments made at the various factories before sale, all, 
 without exception, to my knowledge, are free from pul- 
 monary affections. I have known many such who, on en- 
 tering upon this profession, were very delicate, and who, 
 though their duty obliged them to blow for hours togeth- 
 er, enjoyed perfect health after a certain time. 1 am my- 
 self an instance of this. My mother died of consumption: 
 eight of her children fell victims to the same disease, 
 and only three of us survive, and we all three play on 
 wind instruments. The day is not far distant, perhaps, 
 when physicians will have recourse to our dreaded art in 
 order to conquer pulmonary diseases." 
 
 There is need, however, of caution, lest even 
 a healthful exercise may be unduly prolonged, 
 Buch is the fondness of people to run to extremes. 
 
 Again, there are mental and moral advanta- 
 ges resulting from Voice Culture. The essence 
 of language is in the living utterance. Delivery 
 is to discourse what performance is to music. 
 Painting addresses the eye and music the ear, 
 but oratory commands both art senses. Christ 
 wrote nothing, but "never man spake like this 
 man." A good picture deserves a good frame. 
 
INTRODUCTORY. 11 
 
 The gospel deserves a noble utterance. Its 
 " apples of gold " ought to be served in the " sil- 
 ver basket " of pure, shining speech. 
 
 Edward Payson remarked that the voice 
 was half in pulpit discourse, and the lamented 
 Dr. Kirk said, that the great necessity of our 
 times, next to a more practical christian faith, 
 was " a thorough cultivation of the functions of 
 speech." Hon. W. E. Dodge, in a public address, 
 remarked that he had for years watched young 
 ministers, and had been *^ distressed to see in how 
 many instances they have failed in this respect 
 to make available the knowledge they had ac- 
 quired by years of careful study. They had no 
 power of voice, or style of delivery to make an 
 impression on an audience, and for lack of this 
 never attain any considerable success." Said 
 Andrew Fuller, " the holiness of their living, 
 and the painfulness of their preaching ! " In 
 the modern sense of the word, the "painfulness" 
 <^^ pulpit tones, and the general indifference to 
 manner rob the gospel of half its power. 
 
 But elocutionary training, it is said, makes one 
 affected. Yes, sometimes, and so a knowledge 
 of the classics may result in pedantry, hence the 
 old saying, " The ass that knows Greek, is the 
 greatest ass of all." But the use of an art is one 
 thing and its abuse quite a different thing. 
 Conceit attends a little knowledge, but modesty 
 is the badge of wisdom. 
 
 Again, " it is enough to follow nature." 
 
18 VOCAL CULTURE. 
 
 True, but we are not natural by nature, foi i 
 often takes one a long time to ^' come to him- 
 self." In other words, we confound habit and 
 nature. We say, it is natural for some to talk 
 through the nose, or walk with shuffling gait. 
 We mean to say that it is fcheir habit to do so. 
 True art leads to nature and not to artifice. 
 But is not a good voice a constitutional gift ? 
 Unquestionably. Yet culture does more for 
 some than nature ever did. He who has a fine 
 utterance has the highest encouragement, and 
 he who has a poor voice the highest necessity for 
 elocutionary training. ** Ninety per cent of 
 what men call genius," says Prof. Mathews in 
 his admirable volume, "Getting on in the 
 world," "is a talent for hard work." Lord 
 Chatham translated Demosthenes into English, 
 and twice read through a huge dictionary with 
 careful attention, to gain a mastery of language. 
 His son, William Pitt, before he was twenty, 
 read through nearly all the ancient classics, many 
 of them aloud, dwelling for hours on stnkmg 
 passages. The " silver tongued Mansfield " ti ans- 
 lated not only Cicero into English, but English 
 orations into Latin, and thus gained that felicity 
 of expression which the ignorant called a gift of 
 ature. 
 
 Americans, specially, need voice training. 
 Their east winds, lean soil, their independence 
 and sharp business habits, Dr. Holmes says, are 
 not the best things for the larynx. Nine men out of 
 
INTRODUCTORY. 13 
 
 ten have a harr!, sharp, metallic clink, which re- 
 minds him of the spring bell on a tinman's door. 
 Nor does he spare the female voice. Too often 
 it is sour enough to produce effervescence with 
 alkalies and creaking enough to sing duets with 
 katydids. Were half the time spent in vocal 
 culture that is wasted in arranging dress and dis- 
 arranging hair, the voice might be made soft ** as 
 the dew on Hermon," mellow and sweet as the 
 voice of Shakespeare's Cordelia. 
 
 8. How SHALL WB TRAIN THE VOIOB ? 
 
 First, as an instrument of sound, under the 
 laws of sound. 
 
 Second, as an instrument of thought, under 
 the laws of thought and emotion. 
 
 This simple analysis gives us a preparatory 
 drill by physical exercises, respiration, articula 
 tion, and musical tones. Then, having learned 
 to develop its capacities, we find the uses of the 
 voice as a weapon of defence and assault, an in- 
 strument of entreaty, or of menace, of instruc- 
 tion, conversation, prayer or praise. The phys- 
 ical drill brings into notice anatomical and 
 physiological facts, and the intellectual or aes- 
 thetic branch of study calls into play the imagi- 
 nation, taste, sensibilities and mimetic powers. 
 
 Voice-building and mental training go on 
 simultaneously, although individual cases vary, 
 some students having excellent physical qualifi- 
 cations yet lacking in correct taste, while othen 
 
14 VOCAL CULTURIL. 
 
 whose discrimination is perfect, fail in vocal 
 energy. 
 
 Those who wish to study the anatomy of the 
 organs will find all that is needful in the com- 
 mon text books on physiology. Dr. Bush hai 
 given so philosophical a treatise on the HumaD 
 Voice that his prefaces, he himself has tartlj 
 said, are regarded " the only intelligible part oi 
 the volume." 
 
 Dr. Rush is full of conceits, odd phrases and 
 irrelevant matter. His bulky work, too, is so 
 technical and abstruse in style and cynical in 
 tone, it never secured popular attention. His 
 '^emphatic vocules," ^^ inthoughtive syllables," 
 " discommas " and other oddities give the air of 
 pedantry to his discussion. The object of this 
 Manual is to give results rather than procwses, 
 and th^se in the simplest, briefest form* 
 
CHAPTER 11. 
 
 Physical TRAii^iifa. 
 
 SxAi^Dii^G. 1. The first command to ancient 
 AtL icte or to modern soldier is, stand firm ! 
 An erect posture is of vital importance to reader 
 or speaker. The attitude which one naturally 
 assumes unconsciously reflects his character. 
 While the reveller reels, and the miser stoops, 
 and the voluptuary yawns, the true man stands, 
 upright and downright. Let the first exercise 
 in vocal gymnastics, then, be standing. 
 
 Stand firm, but not rigid ; straight but do 
 not bend backward ; the feet a little apart and 
 at an angle not quite as broad as a right angle ; 
 the wrists against the hip joint ; the shoulders 
 square ; the chest expanded and the head erect, 
 so that the larynx is directly over the windpipe. 
 
 Stand with ease and dignity. Avoid ^^ lassi- 
 tude, bending, carelessness, falling of the head, 
 dangling of the limbs, loose and irregular gazing. 
 To clasp the hands over the abdomen is offen- 
 sive, and to clasp the hands behind the back ia 
 scarcely graceful, particularly if they are placed 
 under the coat skirts.*' 
 
16 VOCAL CULTURE. 
 
 2, Never allow collar or cravat to press the 
 throat, or in the slightest degree impede the 
 breathing. 
 
 An eminent physician, who devoted his 
 whole attention to diseases of the throat and 
 lungs, says that about three-fourths of all throat 
 diseases would get well by wearing very loose 
 collars, and no neck-tie at alL Singers come to 
 him for throat diseases and loss of voice, and he 
 tears open their cravats and cures them with no 
 other treatment whatever. The pressure of the 
 collar ton the arteries of the neck is very bad for 
 the health. If you have disease of the throat let 
 nature do the curing, and the physician just as 
 little as possible. 
 
 DBPOKMED. NATUBAL.. 
 
 The dress at the waist, of course, should be 
 loose, allowing room for the easy play of dia- 
 phragm. The idiotic idea that there is beauty in 
 a waist, attenuated and deformed by tight belt 
 and corset, deserves only silent contempt. Atti- 
 tude and dress being correct, we next attend to 
 breathing, as preparatory to the production of 
 tone. 
 
PHYSICAL TllAIKlJSG. 
 
 17 
 
 Bjrbathing. 1. First of all, beware of ex- 
 tremes, in this as in other matters. While some 
 teachers almost ignore respiratory exercises, oth- 
 ers push them to a harmful extent. Judicious 
 training is needed. Prof. Monroe, the eminent 
 Boston elocutionist, truly says, that " tlie lun^a 
 
 ACTION 01" THB DIAPHBAOlf. 
 
 t. Carity of the Chest. 2. Abdomen. 8. Line of diaphragm, re 
 lazed in expiration. 4. Contracted in inspiration. 5. 6. Front 
 walls when the lungs are properly inflated. 7. 8. In expiration. 
 
 •re the very springs of vitality. The manner of 
 breathing is almost as good \ test as the pulse 
 itself of the general state of tne system, physical 
 and mentaL'* 
 
18 VOCAL CULTURE. 
 
 2. The commonest fault is breathing irith 
 the pectoral muscles, to the neglect of the costal 
 and abdominal muscles. The motion of the 
 flanks of domestic animals should teach us a lea* 
 son on this point. In faulty breathing, the 
 sides of the chest are drawn in upon the lungs, 
 as seen in stammerers, who force out their breath 
 in short, spasmodic expirations, inverting the 
 natural upward action of the diaphragm. 
 
 3. If the supply of breath is deficient, the 
 Yoice will be both flat and feeble, as in a wind 
 instrument when the bellows are but partly in- 
 flated. The pitch is lowered, and the power is 
 weakened. The peculiar whine of the locomo- 
 tive whistle, when the steam is slowly shut off, 
 is a familiar example. The languid semitones 
 of a sick or melancholy person is another. 
 
 4. If the pressure of the breath is too great, 
 the voice will be rough and jerky, as the music 
 of the organ may be spoiled by an ignorant blower 
 of the bellows. The old song masters of Italy 
 laid the greatest stress on the proper control of 
 the breathing, as indispensable in forming full, 
 sweet tones. Madam Seiler, late of Heidelberg, 
 now of Philadelphia, makes this point, that 
 " Every tone requires for its greatest possible 
 perfection, only a certain quantity of breatli, 
 which cannot be increased or diminished without 
 injury to its strength in the one case, and its 
 agreeable sound in the other." 
 
 Dr. H. R. Streeter, in the same line of cau- 
 
PHYSICAL TEAIKIi^O. 19 
 
 tionary advice, warns against mere puffing of 
 breath and bawling of voice. Noise is not the 
 chief aim. " The instruction given by a promi- 
 nent director to his chorus was, * Koar, roar like 
 tigers 1 ' If voices are thus used, is it strange 
 that voices do not last, and that there are so few 
 good singers or speakers ? " 
 
 6. Dr. Eush remarks, " by a command over 
 the muscles of respiration the breath is frugally 
 dealt out to successive syllables, in limited por- 
 tions, appropriate to the time and force of each, 
 thus guarding against the necessity of frequent 
 inspirations." As an initial exercise, he sug- 
 gests the expiration of the syllable hah in the 
 voice of a whisper, with the mouth widely open, 
 with a duration long enough to entirely empty 
 the lungs. This is the exercise which the late 
 Prof. Ru&sell called effusive breathing. 
 I 6. Deep breathing is merely a kind of sighing, 
 nrhere the full breath escapes at once, but Effu- 
 sive breathing is prolonged, and sounds like the 
 murmur of the sea-shell. Next, let the student 
 utter the whispered syllable tvho. This illus- 
 fcrates Expulsive breathing, which is more abrupt. 
 It is to be made by the thoracic muscles, as well 
 as by those of the mouth. Lastly, let the sylla- 
 ble hah be thrice pronounced with a vigorous 
 expulsion of the full breath, and we have Explo- 
 sive breathing, reminding one of the coughs of a 
 locomotive, when starting a heavy train. 
 
 These exercises may be modified, but qoiia 
 
20 VOCAL CULTURE. 
 
 of them should be repeated to the extent ol 
 weariness. The student should stand during 
 exercise, with the hands resting on the hips. 
 
 7. Great as is the importance of full, deep 
 inspiration, it must not be forgotten that it is 
 the control of the breath, rather than the quan- 
 tity used, which secures effectiye speech. Skill 
 did more for Farinelli than strength, in winning 
 his victory over the trumpet player in prolonging 
 a note. It is with the breath, as it is with 
 money ; not he who has the most, but he who 
 knows how to spend it wisely, succeeds in the 
 end. For years after the writer entered on a 
 clergyman's work, he suffered weariness after 
 speaking a half hour, simply from inattention to 
 this point. Control of the breath is acquired 
 only by patient and prolonged attention. 
 
 Gymnastics. Some instructors extol, while 
 others undervalue, gymnastics as related to elo- 
 cution. A few exercises will be suggested, and 
 one can follow his own judgment as to the 
 amount of practice he needs to develop the chest 
 and lungs. 
 
 Some of these will at least promote freedom 
 and gracefulness of carriage, which are of prime 
 importance to a public speaker. Their relation, 
 also, to gesture is direct, as in the " Extension 
 movement," which breaks up the inveterate 
 habit, which many have of making constrained, 
 pump-handle gestures with the elbow at the side, 
 instead of calling the muscles of the shoulder 
 
PHYSICAL TEAIiq^IKr ^1 
 
 ■ntc ase by a freer sweep of either arm. The 
 suggestions of Professor Welch, in his work on 
 Physical Culture, are admirable. Quietness, pre- 
 cision and promptness are insisted on. Di. 
 Welch also shows in his book, as lie well shows 
 in his life, the marvellous power of endurance 
 which eyen an invalid may develop by systematic 
 muscular exercise, with attention to the laws of 
 healthful living. 
 
 The matter of Calisthenics, from the Greek, 
 strength and heaiUy, is treated by Dio Lewis and 
 others at length. Prof. Frobisher's pamphlet 
 ^* Blood and Breath," to go with the wonderful 
 Pocket Gymnasium, is well worthy study. 
 
 First Series. Hand movements, 
 
 1. Thrust the open right hand downward 
 from the breast twice forward, twice laterally. 
 Then the left hand, then both, making twelve 
 exercises with the open hand. 
 
 2. Thrust the fist from the right shoulder 
 straight upward twice, twice forward, laterally. 
 Kepeat the same with the left arm, then both, 
 making twelve exercises with the closed hand. 
 
22 VOCAL CULTURE. 
 
 Second Series. Cliest expansion, 
 
 1. Close the mouth and each hand. Place 
 the hands against the chest, palms upward. In- 
 flate the lungs fully. Thrust out the arms and 
 the breath too, vigorously. Again. 
 
 2. Inhale as before and hold the breath. 
 Strike the chest a half dozen rapid blows with 
 the end of the fingers, using the wrist joints 
 rather than those of the shoulder or elbow. 
 Repeat. 
 
 3. Unequal breathing. Mace the left hand 
 on the left breast, the right wrist on the crown 
 of the head, and breathe deeply and quietly. 
 Mouth closed as usual. Reverse positions and 
 repeat with the left hand on the. head. Head 
 and body erect. To these exercises may be 
 added those of dorsal, costal and abdominal 
 breathing, described in Chap V. of Prof. Monroe's 
 Vocal Gymnastics. 
 
 4. Extension movement. This may be prac- 
 ticed once with the lungs inflated, and thcD 
 once without holding the breath. Never forget 
 the caution § 6. 
 
 Four movements with hands touching, and 
 four with arms extended. 
 
 First, Extend both arms forward, level 
 with the mouth, thumbs and finger-tips toach- 
 
 Second, Raise to an angle of 45**. 
 Third, Raise to the perpendicular. 
 Fourth, Carrv backward with fingers still 
 
PHYSICAL TRAINING. 23 
 
 together, and pointing at the angle of 45'. Head 
 erect and shoulders down. 
 
 Fiftlu Extend both arms behind, and at 
 the same angle as in the fourth movement. 
 
 Sixth, Depress to the level of the shoulders 
 
 Seventh, Continue with unbent arms half 
 way downward. 
 
 Eighth. Arms by the side. 
 
 In class exercises the piano will be helpful, 
 with marching music to mark the motions and 
 to impart exhilaration to the exercise. Other- 
 wise the instructor will mark time by count or 
 gesture. The fewer words the better, both for 
 him and his gymnasts. 
 
 UNIVERSITV 
 
CHAPTER TIL 
 
 Pboduction of Tokb. 
 
 He stood and shouted ; Pallas also raised 
 A dreadful shout, and tumult infinite, 
 Ezdted throughout all the hosts of Troy. 
 
 So Homer sings of Achilles and his fellows. 
 Milton's picture of the shout of rebel angels ifi 
 still more terrific. An imperious tone is more 
 than argument. Says Fitzgerald, '* superficial 
 speakers make up in loudness, lack of matter. 
 Like Novius, the Eoman, they bawl themselves 
 into credit." Fastidious church-goers love 
 ^^ sound doctrine," that is, sweet and sonorous 
 tones. What is said is of less consequence. 
 Bzekiel was to Israel as the " song of one that 
 hath a pleasant voice, and can play well on an 
 instrument." They hear the words but do them 
 not. 
 
 If the mere tone itself has such power and 
 persuasiveness, it is of prime importance that we 
 know how to form and to locate it. 
 
 1. The organs of voice consist of a vertical 
 pipe or trachea, with an air chest at its lower 
 end, the lungs, and an apparatus at the upper 
 end of the pipe, by which undulations are im- 
 
PEODUCTIOif OF TOii^ 
 
 25 
 
 parted to the external air. Physiologists are 
 diyided in opinion as to the production of tone. 
 The idea most generally received, is that the 
 vocal cords play the part of the double reed in a 
 
 hautboy. The air from the pipe issues between 
 the lii)s of the glottis in more or less rapid vibra- 
 tions, and in higher or lower pitch, according to 
 the contraction or expansion of the muscular 
 pipe and adjacent ventricles. The lips, tongue 
 
26 VOCAL CULTURE. 
 
 and other membei's aid. The experiments of 
 surgeons with the scalpel, and of singers like 
 Garcia and Seiler with the laryngoscope, are not 
 without value. Any manual of physiology, 
 however, will furnish all that is needed to under- 
 stand the simple, anatomical apparatus of sound. 
 
 2. The laws which govern these organs are 
 the same as those which govern all sounding 
 bodies. In the material, size and condition of 
 the vocal apparatus, we find the secret of a won- 
 derful variety of tones. The sound of a hammer 
 on a board, differs from that of a pianoforte 
 hammer on its. echoing wire. There is a similar 
 difference in voices, as shown in previous chap- 
 ters. Some have large and flexible organs, and 
 so 'have powerful tones and sympathetic. The 
 ligaments and membranous tissue in other cases 
 are injured by disease, or, oftener, by narcotics 
 and hot drinks. But culture is the real secret 
 inmost cases. The range of perfection in the 
 vibratory chords is said to be from two hundred 
 degrees, in the untrained voice, to one thousand 
 in the highly practised. 
 
 3. The average capacity of the lungs in the 
 adult male is 335 cubic inches, of which 225 can 
 be forced at one expulsion, leaving 110 inches 
 still retained.* The old cylindrical spirometers, 
 tested the lungs by this method of prolonged 
 breathing ; that of Dr. Dio Lewis by a sudden 
 push through a fine rubber tube, which moves u 
 
 * Dr. HutcliinBon, Medico-Chirg.' Transactloiui, 1846. 
 
PRODUCTION Oi^ TOKE. 27 
 
 In inter on a dial. From the age of thirty-five 
 to sixty-five there is a diminution of nearly a 
 cubic inch a year. There is a loss of five cubic 
 inches in sitting, and in lying down a loss of 
 thirty. A full meal lowers the respiratory ca- 
 pacity from ten to twenty cubic inches. 
 
 4. The voice changes at puberty. This pe- 
 riod is usually at the fifteenth year in boys, and 
 with girls a year earlier. The tone falls, in tlie 
 male voice, an octave, and the larynx is greatly 
 enlarged, as seen in the increased prominence of 
 the bone, ^^ Adam's Apple." Hoarseness and 
 even loss of voice sometimes attend this change. 
 The voice involuntarily breaks, and the tone be- 
 comes a falsetto. 
 
 Bassini says, *^ this is a very critical period. 
 Great care should be taken. Many voices are 
 irretrievably lost during this time, through care- 
 lessness of the possessor, or the ignorance of 
 singing masters. Many voices which before the 
 change were rich, become poor and worthless. If 
 singing be undertaken at all, it should be only 
 under the guidance of a competent master." 
 The tone and pitch of the female voice change 
 less, but it increases in fullness of volume. 
 
 5. In felxC production of tone, the Romans had 
 three kinds of drill masters. The vociferarii de- 
 veloped power and compass of voice by loud 
 T^iferations. Our street peddlers, newsboys and 
 others who habituate themselves to out-door 
 vocal exercises in all kinds of weather with com- 
 
28 VOCAL CULTURE. 
 
 parative impunity, are illustrations of the bene* 
 fit of such training. The plionasci improved the 
 quality of the voice, and the vocales taught in- 
 flections and other embellishments of speech. 
 Such is the variety of material to be wrought 
 upon in the development of tone, only general 
 methods may be indicated. Some have sympa- 
 thetic voices, and others hard and unyielding 
 organs. Still, the latter, like some kinds of 
 wood, may, under special culture become pecu- 
 liarly rich. 
 
 An English physician once received from a 
 brother, who was a West India captain, several 
 planks of very heavy wood. These were part of 
 the ship's ballast. It was thought that they 
 might be of use to the doctor, who was then 
 building a house. The carpenters rejected them 
 because they were too hard for their tools. A 
 cabinet-maker soon after was directed to use 
 them in making a candle-box. He made trial, 
 and said that he could not work up the wood. 
 He was ordered to get stronger tools. The box 
 was made, and a bureau too, the color and polish 
 of which were so remarkable, that Dr. Gibbons 
 called in his friends to examine them. Among 
 them was the Duchess of Buckingham, who 
 ordered a bureau for herself. The fame of ma- 
 hogany was now established, and for a liundred 
 years its use has been universal, till black walnut 
 nas proved a successful rival. We learn, then, 
 nat labor conquers aU things. Multitudes, 
 
PRODUCTION OF TONE. 2^ 
 
 from Demosthenes to the present day, have over- 
 come impediments which at first seemed insur- 
 mountable, and like the doctor's patient work- 
 man, produced splendid results from unpromia- 
 ing material. 
 
 Qualities of Toke. 
 
 1. Pure Tone is that of ordinary conversa- 
 tion. It should be natural, easy, smooth and 
 clear. A full inhalation of breath, and a mod- 
 erate expenditure are required. The pure tone 
 is used in narrative, in cheerful and tranquil 
 moods. 
 
 2. The Orotund is the pure tone deepened. 
 The larynx is depressed, the pharynx enlarged, 
 and the veil of the palate elevated. There are 
 three forms, the Effusive, which Russell com- 
 pares to a round, deep and prolonged yawn ; the 
 Expulsive, a declamatory or shouting style, and 
 the Explosive, a short, sharp cry, as in alarm, or 
 any abrupt emotion. The Effusive orotund is 
 used, where sublimity or reverence is expressed. 
 
 Lord, thou hast been our dwelling place 
 
 In all generations. 
 
 Before the mountains were brought forth, 
 
 Or ever thou hadst formed the earth, 
 
 And the world, 
 
 Even from everlasting to everlasting. 
 
 Thou art God 1 
 
 So in Milton's invocation of Li^ht. 
 
80 VOCAL CULTURE. 
 
 .Hail ! holy light, offspring of Heaven, firat bo?B 
 Or of the eternal co-eternal beam, 
 May I express thee unblamed ? 
 
 The Expulsive orotund, is illustrated in the 
 familiar quotation — 
 
 " Sink or swim, live or die, survive or perish, I give 
 my hand and my heart to this vote ! " 
 
 This form of the orotund is used in impas- 
 sioned declamation. 
 
 The Explosive orotund is a sudden discharge 
 of vocal tone, when the abdominal muscles and 
 diaphragm force the condensed breath out of the 
 glottis, or lips of the laiynx, instantly. "It 
 rouses the sensibility of the whole frame, and it 
 summons to instant action all the senses. It 
 seems designed by nature as the note of alarm to 
 the whole citadel within the soul. Pursued ex- 
 clusively it would harden the voice and render 
 it dry and unpleasing in its quality. Intermin- 
 gled with the other modes of practice it secures 
 a thorough-going force and clearness of voice and 
 permanent vigor and elasticity to the organg." 
 
 To arms I they come 1 the Greek I the Greek I 
 
 Strike 1 till the last armed foe expires ; 
 Strike I for your altars and your fires. 
 Strike 1 for the green graves of your siret, 
 God and your native land 1 
 
 The Guttural is a choked hoarse throiit 
 
PRODUCTION OF TONE 31 
 
 tone, where the muscles of the hirynx and abr ut 
 the root of the tongue are comjiressed. It '^ 
 the expression of rage and scorn. 
 Shylock used it when he asked : 
 
 Hath a dog money ? is it possible 
 
 A cur can lend three thousand ducats ? 
 
 How like a fawning publican he looks I 
 I hate liim, for he is a Christian. 
 
 The Tkemor resembles the trill in singing 
 and is employed in deeply pathetic passages aa 
 in the King's Lament. 
 
 Absalom, Absalom ! my son, my son 1 
 
 Sometimes, too, in sportive passages where 
 laughing is intermingled. 
 
 Oh 1 then, I see queen Mab bath been with you. 
 
 The Whisper needs no description. It re- 
 quires intensity of articulation, clearness and 
 precision in the use of the organs of speech. It 
 is a beneficial exercise, if not too long continued. 
 Whispering expresses fear and secrecy. 
 
 Is all prepared ? speak soft and low 1 
 
 And the bride maidens wliispered 'Twere better by far, 
 To have matched our fair cousin with young LochinTar 
 
 The Aspirated tone is a half whisper, and 
 is used where the disguise or concealment is not 
 80 complete. 
 
32 VOCAL CULTURE. 
 
 '* He hears a noise 1 He all awake-^ 
 Again 1 On tip-toe down the hill 
 He softly creeps." 
 
 HOW TO PRODUCE PURE TO^'ES. 
 
 Prof. Mcllvaine sums up in a chapter these 
 ceatral facts, that each voice has its own charac- 
 teristics, which elocution does not obliterate, but 
 corrects and develops ; that a good teacher should 
 be secured ; the ear cultivated to distinguish 
 qualities of voice ; that care should be taken 
 not to strain the voice, and jet persistent j^rac- 
 tice half an hour should be had once or twice a 
 day. 
 
 Dr. Broadus urges singing as an exercise, as 
 second to none in developing the compass of the 
 voice ; horseback riding and gymnastics to give 
 volume of breath, and out-door shouting to give 
 a penetrating quality to the voice. Prof. Fro- 
 bisher suggests a novel "silent practice." In- 
 tone the words sufficiently to make them audi- 
 ble, and by intensity of will and imagination 
 seem to sliout and gesticulate, as if by the sea or 
 in the depths of the forest. Pace the room, he 
 says, with vehement gesture, and the eyes full 
 of fire and expression. The whole frame is ex- 
 cited with enthusiasm, and yet those in the next 
 room are not disturbed. "This apparently 
 extravagant exercise is merely for practice, and 
 it renders all the speaking powers extremely 
 gtroDg and Dliant. Personal experience with 
 
PRODCCTION OF TOXE. 33 
 
 pupils has demonstrated that a radically weak 
 Toice can be made strong by such a method." 
 The room should be well aired, the lungs fully 
 inflated, and the mind fixed on the work. 
 
 Purity of voice, like purity of character, is 
 the crowning excellence. It is more than power 
 or any other attribute. To secure this quality, 
 recall the conditions already noted. 
 
 1. Position. Sitting with the chin dropped, 
 or standing with the face turned downward to- 
 ward a manuscript, one cannot form pure tones. 
 The emission of sound is impeded. The posi- 
 tion of the larynx is not directly over the wind- 
 pipe. Irritation of the throat soon results from 
 these constrained positions. If one reads, the 
 page should be laid or held high enough to allow 
 of erect posture of the person, and a natural posi- 
 tion of the vocal organs. 
 
 2. Free opening of the mouth. Christ's Ser- 
 mon on the Mount is prefaced with the remark, 
 " He opened Ms mouth, and taught them." Too 
 many preachers and teachers neglect this impor- 
 tant condition of lucid statement. Hence gut- 
 tural, nasal or muffled sounds are made. 
 
 3. A full inhalation of the lungs. Chap. 
 II. § 3. 
 
 4. Conversion of the whole of breath into 
 vocal tones. Kasping or sibilant sounds, sugges- 
 tive of teeth and lips, spoil purity. They result 
 sometimes from lips that are stiff or thick, and 
 from a peculiar structure of the jaw and palate, 
 
 % 
 
54 VOCAL CULTURE. 
 
 bat oftener from simple ignorance and inaiton 
 tioi:. Rules are good, but a living teacher is 
 better to educate at once the ear and voice. 
 
 5. Locate the focus of sound properly. 
 Madam Seller says that the air should rebound 
 from immediately above the front upper teeth, 
 where it must be concentrated as much as possi- 
 ble, rebounding thence to form in the mouth 
 continuous vibrations." At the same time, 
 
 6. Project the tone, thus formed in the cav- 
 ity of the mouth, to a distant point, as if di- 
 rected to an individual across the street. Do 
 this in a loud voice, and in gentle tones, as well. 
 The drill sounds, long a, long e, a/i, aioe^ long 
 and 00 may be used in turn. 
 
 7. Purity and flexibility will also be gained 
 by Bassini's method of singing the syllable sea 
 to the tones of the diatonic scale, soft and mel- 
 low, then crescendo and loud. This exercise in a 
 class may be pleasantly varied by musical triads, 
 i. e., the addition of the third and fifth notes as- 
 signed to divisions of the class. The vibratory 
 power of the vocal organs may be improved by 
 culture just as a violin is said to gain a habit of 
 vibration, making it sensitive to the touch of 
 the bow and freeing it from those resinous par- 
 ticles which obstruct the free movement of its 
 wooden fibres. 
 
 Dr. Streeter thus illustrates the fact that 
 *' muscles poseoas the power of retaining habits 
 taught them.** Jjelect a brick, for instance. Af- 
 
FIIODUCXIOJ^} OF TONE. S6 
 
 ter letaining it in the hand, lay it down and the 
 hand for some little time retains the shape into 
 which it formed itself in order to hold the 
 weight. So with the muscles involved in speech. 
 As a shoe or glove which has been worn takes 
 the form of the foot or hand, so the vocal liga- 
 ments gain in flexibility by use and take on fixed 
 habits according to the tension of the parts. 
 
 8. Physiological and moral facts stand related 
 to purity of voice. One who neglects the laws of 
 health in the matter of dress and food, and in the 
 use of drugs, or drinks, cannot have pure tones 
 The prevalence of catarrhal difficulties in the 
 North Atlantic States causes nasal sounds. The 
 use of flatulent food, ice water, hot drinks, pas- 
 try, confections, strong tea, tobacco and other 
 poisons, spoil the voice ; some of them by direct 
 action on the stomach, causing eructations, some 
 by induration of the mucous membrane, mak- 
 ing it leathery, and some by ruining the teeth 
 and thus affecting articulation. One more bad 
 habit is that of sleeping with the mouth open. 
 This is a source of pulmonary disease. It also 
 helps to give the countenance of the person, 
 when awake, the air of indecision, if not of idi- 
 ocy or senility. Bu t how may the habit be cured ? 
 First, keep the mouth shut while awake, and 
 always breathe through the nose. Second, sleep 
 on either side, but not on the back. 
 
 9. Moral culture directly affects the voice. 
 The snarl of the petulant, and the whine of tht 
 
86 tocAjl culture, 
 
 dyspeptic, stand opposed to the pleasant and 
 cheery tones of the sunny, good-natured man. 
 The cultivation of a good temper, then, has a 
 direct relation to the possession of a penuasiTe 
 Toioe, 
 
CHAPTER IV. 
 
 Aeticulatiok. 
 
 1. Articulation' is the formation or enun- 
 ciation of the elements of language. It is indis- 
 pensable to good delivery. Pronunciation has ref- 
 erence to the sound of words as related to good 
 usage. Articulation has to do with vocal mechan- 
 ics, pronunciation is governed by the laws of 
 cultivated taste. 
 
 2. There are twenty-six letters in the English 
 alphabet but philologists reckon from thirty-two 
 to forty-five elements, according to real or im- 
 agined difference in sound. 
 
 Dr. Comstock makes thirty-eight, divided as 
 follows : fifteen pure vocal or vowel sounds, four- 
 teen sub- vowels, those which have partial vocal- 
 ity, and nine aspirates. 
 
 3. The fault of indistinct articulation arises 
 sometimes from defects or disease in the organs, 
 in which case the surgeon's aid is needed. Those 
 with cJ<»ft palate, hare lip, elongated uvula, en- 
 larged tonsils, the tongue tied, stammerers and 
 lisping ones, as well as those suffering from aph- 
 ony, laryngitis and other difficulties, need com- 
 petent medical advici^ 
 
38 VOCAL CULTURB. 
 
 Neglect of early training is a common cause. 
 Little ones are allowed to use d for tli as dat for 
 that, t for c, as tate for cake. This mutilation 
 of speech is often regarded by silly nurses as 
 *^ cunning/' and is encouraged until an inveter- 
 ate habit is formed. 
 
 Timidity is a third cause of indistinct articu- 
 lation. When self-control is lost, one is apt to 
 become unintelligible and incoherent. Affecta 
 tion also spoils articulation. Carefulness of 
 utterance is not mouthing. In avoiding one 
 fault, one should not fall into the opposite error 
 of a pedantic, artificial style. ^^Affectation, the 
 desire of seeming to be that which we are not, 
 is the besetting sin of men. A plain, simple 
 unaffected manner, in speech, gesture, carriage, 
 is one of the most difficult of acquirements ; for 
 in all grades of society, from the wigwam to the 
 saloon, the most natural thing in the world is to 
 be unnatural." 
 
 Articulation is rightly called the special char- 
 acteristic of human speech. The "articulately 
 speaking men of Homer express the concep- 
 tion which the Greeks, the greatest practical 
 masters of speech the world has ever seen, 
 formed of humanity. The articulate word of a 
 man is his rational nature in its most full and 
 perfect revelation, a revelation which is dim and 
 obscure in the degree in which his articulation is 
 defective." 
 
 The grand secret of the masterly power of 
 
Randolph's oratory, it is said, lay ir^ his articu- 
 lation. ^^ Who ever possessed a more disagreea- 
 ble creaking yoice than John Randolph of Eoa- 
 noke ? And yet whose voice by cultivation 
 became so fascinating as his, and haunted the 
 hearer like the spell of a^ enchantress ? If 
 when laboring under so great disadvantages, men 
 have by attention to articulation attained such 
 eloquence, what encouragement to those whose 
 voices are naturally melodious !" 
 
 4. Four general suggestions as to the meth- 
 od of securing a clean articulation, may be 
 noted. 
 
 First. Practice daily phonetic spelling. Take 
 a word and emphasize equally each syllable. 
 Drawl it. WasJi'ing-ton. Then spell by sound, 
 giving each element with a clear, energetic utter- 
 ance, oo-a-sh-ing-t-o-n. The effect of this exer- 
 cise is direct and immediate, in correcting a slov- 
 enly style of speech. 
 
 Second. Vocalization is improved by singing. 
 The free opening of the mouth necessary to the 
 singer, the deliberation required to properly 
 locate the cone of vibration, and the change of 
 pitch and power, are all helpful in promoting 
 clear articulation. 
 
 Third. Whispering develops the articulating 
 powers. No exercise is more important, in the 
 view of Prof. Mcllvaine, for ^* thus the distinc- 
 tion of vocality and non-vocality is eliminated, 
 and the only way of making one's self under- 
 
40 VOCAL CULTURE. 
 
 stood, is by the strength and precision of articu- 
 lation. The attempt to speak in a whisper to 
 persons at a little distance thus brings out all 
 the speaker's articulating powers." 
 
 Fourth. Frequent practice on difficult combi- 
 nations of elements is advised. Begin very 
 slowly, even drawl, until the sounds are familiar. 
 Then accelerate until the organs are flexible and 
 obedient. Mr. Moody, the revivalist, is said to 
 have spoken two hundred and twenty words a 
 minute. Such precipitate speech is rarely intel- 
 ligible. For practice however, the familiar lines 
 may be rapidly repeated, 
 
 Peter Prangle, the prickly pear picker, picked three 
 pecks of prickly prankly pears from the prickly pear 
 trees on the pleasant prairies. 
 
 or 
 
 Theophilus Thistleton thoroughly thrashed 
 Three thin tinkers traveling through Totten ; 
 Since Theophilus Thistleton thoroughly thrashed 
 Three thin tinkers traveling through Totten, 
 Tremblingly, traveling tinkers tread through Totten. 
 
 Tables fob Practice. 
 
 
 VOfWBLg. 
 
 
 
 SUB-TOWELi 
 
 
 Il 
 
 as in 
 
 ale 
 
 b 
 
 as in 
 
 hoyi 
 
 a 
 
 €€ 
 
 arm 
 
 d 
 
 t€ 
 
 daj 
 
 a 
 
 it 
 
 all 
 
 g 
 
 a 
 
 9^7 
 
 a 
 
 €t 
 
 aa 
 
 1 
 
 u 
 
 fay 
 

 
 AETICULATIOiq^. 
 
 
 
 YOWXLS. 
 
 
 SuB-yowsLA. 
 
 
 as in 
 
 eve 
 
 m 
 
 as in 
 
 md,\m 
 
 
 €< 
 
 end 
 
 n 
 
 tf( 
 
 nine 
 
 
 €i 
 
 tie 
 
 ng 
 
 f< 
 
 Bong 
 
 
 a 
 
 in 
 
 r 
 
 a 
 
 roU 
 
 
 (( 
 
 dd 
 
 th 
 
 a 
 
 ^^en 
 
 
 
 <i 
 
 tomb 
 
 V 
 
 it 
 
 vile 
 
 
 
 i( 
 
 on 
 
 w 
 
 i< 
 
 went 
 
 u 
 
 <i 
 
 twbe 
 
 y 
 
 €€ 
 
 ^oke 
 
 a 
 
 (( 
 
 wp 
 
 z 
 
 « 
 
 2;one 
 
 a 
 
 a 
 
 iuW 
 
 z 
 
 ft 
 
 amre 
 
 on 
 
 €€ 
 
 out 
 
 
 
 
 
 Aspirates. 
 
 
 Compound ELBMENTg. 
 
 f 
 
 as in 
 
 /ame 
 
 oi 
 
 as in 
 
 oil 
 
 h 
 
 6i 
 
 Aat 
 
 gz 
 
 C( 
 
 tugs 
 
 k 
 
 a 
 
 yfcite 
 
 ai 
 
 t( 
 
 air 
 
 P 
 
 t( 
 
 pit 
 
 tch 
 
 (C 
 
 etch 
 
 8 
 
 i€ 
 
 sm 
 
 i 
 
 it 
 
 job 
 
 8h 
 
 « 
 
 slmdiQ 
 
 ks 
 
 it 
 
 oaihr 
 
 t 
 
 (( 
 
 rtn 
 
 
 
 
 th 
 
 iC 
 
 thm 
 
 
 
 
 -wh 
 
 u 
 
 what 
 
 
 
 
 41 
 
 Combinations of other elements can readily be 
 found in any spelling book and may be pra^jticed 
 with rising and falling inflections, with varied 
 pitch and force. The following table was pre- 
 pared by Dr. Barber, of the Royal College of 
 Surgeons, London, and will furnish admirable 
 drill in articulation. 
 
Table of Coksokakt Soukda. 
 
 TS COKBINATIOV. 
 
 Bd. hdst, as in ov-Vd, pro-J'J'^/. 
 
 hi hid. hldsL '' 2i-hU,iYO\Ji-hVd,tYow-hVd^8i^ 
 
 hlz. hist. '' tYon-bles, tron-hrsi 
 
 hr. " hr-and, 
 
 hs. hst. " Ti'hs, Yoh'Vst. 
 
 hz. '^ ]}YO-hes. 
 
 dl. did, dlz. " can-dley laxn-drd, can-dies, 
 
 dlst. " ion-dVst. 
 
 dr. " dr-OYe. 
 
 dz. " dee-^75. 
 
 dth. dths. " brea-fZ/7^, hYca-dths. 
 
 fd. fdst. " ree-/VZ, Yee-fd'sL 
 
 a. fid. fist, flz. " /-ame, tri-/'^/, iYi-JVgt, 
 
 " iYi'fles. 
 
 fr. " /r-ame. 
 
 /5. /5^. " laxx-ghsy lan-gh'st, 
 
 ft. fts. ftst. " wa-//J, wa-/i^5, wa-ffst. 
 
 A " cli-jf5. 
 
 ^rf. ^^5/. " hYag-ged, hYug-fd'st. 
 
 gl. gld. glz. " gl-o^, hag-gled, mau-gUij 
 
 gist. *^ man-grst. 
 
 gr. ** ^r-ave. 
 
 gz. gst. " pi-^5, wsi-g'si. 
 
 jd. " hed-^eJ. 
 
 M " ba-cFi. 
 

 ARTICULATION. 43 
 
 Iri hid. klz. 
 
 as in 
 
 un-cZe, tin-dW, truc-ifoa, 
 
 kZst. kldsL 
 
 (( 
 
 truc-^r^^, ixViQ.'kVd'sL 
 
 in. knd, knz. 
 
 (C 
 
 blac-^e;i, blac-^mW, blac- 
 
 kiuL kndsL 
 
 a 
 
 kms^ blac-^ew'5/, blao- 
 
 
 K 
 
 ken^d'^st. 
 
 Ir. 
 
 C( 
 
 cr-onej. 
 
 ks, kst. 
 
 <( 
 
 thiTi-^5, thin-Fst. 
 
 lb. Ihd. Ibz. 
 
 c< 
 
 e-lbe, huWd, bu-lbs. 
 
 Id. Idz. Idst. 
 
 a 
 
 hO'ld, hO'lds, hO'ld^st. 
 
 If. Ifs. Ift. 
 
 (( 
 
 ^-Ify Q'lfs, de-lft ware. 
 
 Ih 
 
 (( 
 
 hii'lge. 
 
 Ik. Ikd. Iks. IkL 
 
 it 
 
 mi'lky mi-Wd, si-Iks, mu- 
 
 Ikts. 
 
 u 
 
 let, mii-lds. 
 
 Im. Imd. Imz. 
 
 (( 
 
 e-lm, whe-lm'd, whe-lms. 
 
 In. 
 
 (( 
 
 iei'lln. 
 
 Ip. Ips. Ipst. 
 
 a 
 
 he-lp, he-lps, he-lp^st. 
 
 Is. 1st. 
 
 i< 
 
 fa-lse, ia-lVst. 
 
 It. Uz. 
 
 (( 
 
 te-lt, hsL'lts. 
 
 Iv. Ivd. Ivz. 
 
 a 
 
 she-lve, she-lv^d, e-Jves. 
 
 Iz. 
 
 it 
 
 ha-lls. 
 
 Isli. Ishd. 
 
 a 
 
 ^-Ich, ^-Ich'd. 
 
 Ith. Iths. 
 
 a 
 
 hed,'lth, hearlths. 
 
 md. 
 
 a 
 
 ento-mVd. 
 
 mf. 
 
 a 
 
 hu-mph'Yj. 
 
 mt. mtz. 
 
 it 
 
 atte-mpt, eitte-mpts. 
 
 mz. mst. 
 
 tt 
 
 to-mbs, ento-m¥st. 
 
 nd. ndz. ndst. 
 
 ft 
 
 a-nd, ha-nds, se-nd'st. 
 
 nj. njd. 
 
 tt 
 
 ra-nge, ra-ng^d. 
 
 nk. nks. nkst. 
 
 tt 
 
 thi-nk, thi-nks, ihi-nK'H 
 
 nt. ntst. ntz. 
 
 tt 
 
 se-nt, wa-nfst, w&-nts. 
 
 nx. 
 
 ti 
 
 ^-n$. 
 
14 
 
 fOCAL OULTUEB. 
 
 nsh. nsJid, 
 
 as in &i'7ich, fli-wcA'rf. 
 
 nst. 
 
 << 
 
 wi-nc^d. 
 
 ngd. 
 
 (C 
 
 ha,'ng^d. 
 
 ngz. 
 
 ii 
 
 BO-ngs. 
 
 ngth. ngths. 
 
 ti 
 
 stre-ngth, sire-ngths. 
 
 pL pld. ph. 
 
 it 
 
 pl'Uck, Yi]^-pled, rip-;?lM, 
 
 plsL 
 
 (< 
 
 rip pV St. 
 
 pr. 
 
 (C 
 
 pr-aj. 
 
 ps. pst. 
 
 i< 
 
 cli-ps, nip'p^st. 
 
 rh. rid. rlz. 
 
 << 
 
 he-rl, hsL-rl^d, he-rls, ba 
 
 rlst. rldst. 
 
 <c 
 
 rl'st, ha-rl'd'st. 
 
 rd. rdz. rdsL 
 
 tc 
 
 hsi-rd, hsi-rds, heorrd'st. 
 
 rf. rft. 
 
 (( 
 
 sn-rf, wha-rf'd. 
 
 rg. rgz. 
 
 tc 
 
 hvL-rgh, hu-rghs. 
 
 rj. rjd. 
 
 tc 
 
 ha-rge, n-rg^d. 
 
 rh. rkt. rlcz. 
 
 cc 
 
 harric, ha-rFd, a-rc*, 
 
 rJcst. rhtst. 
 
 cc 
 
 ha-rFst, hei-rk^d^st. 
 
 rl. rid. rlz. 
 
 cc 
 
 sna-rZ, hu-rld, msL-rls, 
 
 rlst. rldst. 
 
 cc 
 
 snei-rrst, Bna-rVd^st. 
 
 rm. rufid. rtnz. 
 
 cc 
 
 VL-rm, a-rm'cf, Brrms, 
 
 rmst. rmdst. 
 
 cc 
 
 a-rm^st, a-rm^d'st. 
 
 rn.rnd. rnt.rnz. 
 
 cc 
 
 hvL'7'n, hu-rn'd, hu-rnt, 
 
 rnst. rndst. 
 
 tt 
 
 vi-r^is, ea-rn^stfetk-rn^d^st. 
 
 rp. rpd. rpz. 
 
 cc 
 
 ha-rp, hsL-rp^dy ha-rps. 
 
 rs. rst. rsts. 
 
 ic 
 
 hea-rse, tea-r^st, hu-rsts. 
 
 rt. rts. rtst. 
 
 cc 
 
 hea-rt, hea-rts, hw-rfst. 
 
 rv. rvd. rvz. 
 
 C€ 
 
 cii-rve, cu-rv^d, cn-rveSf 
 
 rvst. rvdst. 
 
 n 
 
 cu-rv^st, cn-rv^d'st. 
 
 rx. rxt. 
 
 tt 
 
 io-rJcs, ma-rFst. 
 
 rz. 
 
 tt 
 
 e-rrs. 
 
 rch. rcht. 
 
 tt 
 
 hea-rch, sea-rcA'rf. 
 

 
 AETICULATIOJ^. 45 
 
 rjih. 
 
 
 as ii 
 
 i hsL-rsh, 
 
 rtL rths. 
 
 
 a 
 
 hea-rth, heek-rtJia. 
 
 ah. shd. 
 
 
 (< 
 
 sh-ip, pU'Sh'd. 
 
 ah. shd. 
 
 aha. 
 
 e( 
 
 msi-sh, ma-^i'd, ma-«4#^ 
 
 shst. 
 
 
 iC 
 
 m3,'Sh'at. 
 
 si aid. 
 
 
 ii 
 
 al'SLj, ne-a-irVd. 
 
 am. 
 
 
 a 
 
 am^-oko. 
 
 an. 
 
 
 i€ 
 
 an-siil. 
 
 sp. aps. 
 
 
 it 
 
 ap'Si, whi'Spa. 
 
 St. str. ats. 
 
 
 a 
 
 starve, atr-ong, hn-ata. 
 
 th. tlid. 
 
 thz. 
 
 a 
 
 th'iney wresiWd, wreartha, 
 
 that. 
 
 
 iC 
 
 wreei'th^at. 
 
 th. thm. 
 
 thr. 
 
 a 
 
 th'istle, rhj'thm, ^Ar-ough, 
 
 thz. 
 
 
 <c 
 
 hesirths. 
 
 tl. tld. th. 
 
 tut. 
 
 a 
 
 lit'tle, Bet-tied, hsLt-tlea, set- 
 
 tldst. 
 
 
 a 
 
 trst, seUrd'at. 
 
 tr. 
 
 
 a 
 
 tr-SLYois. 
 
 tz. tat. 
 
 
 iC 
 
 hsi-ts, comhs^'fat. 
 
 vd. vdst. 
 
 
 a 
 
 sweY'V^d, llv^d^at. 
 
 vl. vld. viz. 
 
 vlat. 
 
 a 
 
 swi-vel, dii'Verdy dri-wfe, 
 
 vldat. 
 
 
 a 
 
 dvi'Verst, dvi'VePd'at. 
 
 vn. 
 
 
 a 
 
 dvi'Ven. 
 
 vz. 
 
 
 a 
 
 li'Vea. 
 
 vat. 
 
 
 a 
 
 li'V'at. 
 
 zl. zld. 
 
 zlz. 
 
 a 
 
 mnz'zle, mxLZ'zrd,mvLZ'Zle$, 
 
 zlst. zldat 
 
 '. 
 
 a 
 
 muz'zrat, mnz-zrdUt. 
 
 zm. zmz. 
 
 
 a 
 
 spa-5m, spsL-ama. 
 
 tn. znd. 
 
 znz. 
 
 (< 
 
 pri'Son, impri-50wW, pri 
 
 znat. zndat. 
 
 a 
 
 sona, im-pri'aon'atf im- 
 
 
 
 a 
 
 -pn-son^d^st. 
 
 chU 
 
 
 €t 
 
 tet-ch'd. 
 
46 VOCAL CULTURE. 
 
 General Eemarks. 1. There are a few 
 worde which suffer special abuse at the hands ol 
 most people. No word in the languge, accord- 
 ing to Kirkham, *' is more frequently trampled 
 upon than the poor drudge and. No slave was 
 ever more grossly abused. Three times out of 
 four it is passed by with merely an uncourteous 
 nasal salute, although entitled io three distinct 
 elementary sounds." 
 
 What is commonly called whut; arms pro- 
 nounced as if it were alms; his as if is; gospel is 
 often called gosple; "God," gaud, Rinse, reuse. 
 Council should be distinguished in pronuncia- 
 tion from counsel, prophesy the verb from the 
 noun, stationary from stationery, foment from 
 ferment, currier irom courier, pillow hom pillar 
 principal from principle, capitol from capital 
 int;aZid from mvalid. 
 
 K was called by the Komans litera canina^ 
 the snarling letter, and the present inhabitants 
 of Italy give it a forcible trill. No sound has 
 more modifications in different lands. In the 
 Sandwich Islands it is pronounced like I, on 
 some of the British islands, like h, and here it is 
 often changed to ah, as door, doah; art, aht; 
 while words like law receive an r, lor. 
 
 Those wishing to study the linguistic feat- 
 ares of our civilization, climatic influences as 
 related to articulation, and the influence of read- 
 ing on correct utterance, will find the thirtieth 
 
ARTICULATION. 4? 
 
 of G. P. Marsh's lectures on the English Lan 
 guage very useful. 
 
 These terminations are often mutilated ; ness 
 and less changed to niss and liss, me7it to munt, 
 and i7ig to in. 
 
 Articulation is also marred by the omission 
 of syllables; histry, evry, reglar for history, 
 every, regular ; also by changing them, as ow 
 into er, feller for fellow, and by omitting single 
 letters, prmote for promote, febuary for february. 
 
 2. Clear articulation may be cultivated by 
 noticing the analogies of sound. 
 
 St, like the Latin sto, is a root indicating 
 firmness and strength. Stout, stop, stand, stay, 
 staff, steady, stamp, statute. 
 
 Str suggests violent force, as strive, stress, 
 strike, struggle, 
 
 Thr suggests forcible motion, as throw, 
 thrust^ thrill, throh, threaten, throttle. 
 
 Gl introduces words representing smooth or 
 silent motion, glib, glide, gloss, glow, gloom, 
 while Sw, those expressive of lateral motion, as 
 swerve, sway, swing, swim, sweep, swoop, and 
 Wr, distortion, wring, wrong, wrestle, wrangle, 
 wrest, wry, wriggle, writhe, wrench. 
 
 Sp suggests expansion, as spread, splashy 
 sprout, spill, split, spring. 
 
 SI suggests gentle motion, as slip, slide, slow, 
 slack, slit, sling. 
 
 So terminations are significant^ as ash, indica- 
 ting something acting sharply and with speed, aa 
 
48 VOCAL CULTURE. 
 
 flashy lash, slash, crash, smash, dash, and Hsh^ 
 fchat which acts more obtusely, as, crush, gush, 
 blush, brush, hush. 
 
 Noticing these and other pictorial features of 
 words, one may impart vividness to his speech 
 and so make even his articulation an unconscious 
 ally in producing impression. In the expres- 
 sion, " the hiss of the serpent," a speaker once 
 slightly prolonged the final sound of hiss. It 
 was wholly an unconscious act, only that he had 
 long been trained in articulation. One of his 
 hearers told him afterwards that a vivid dream 
 of a serpent was the result of that slight sibilant 
 sound. On his departure for the Pacific coast. 
 Rev. Dr. A. L. Stone alluded to "the wash of 
 its waves," giving unintentionally a fulness to the 
 final sh. It made a picture instantly. Ten 
 years have not in the least degree dimmed its 
 clearness to the writer's mind. 
 
 The articulation of a single monosyllable by 
 President Humphrey of Amherst College about 
 forty years ago, came, says Mr. Beecher, like a 
 bullet. *^ It has remained in memory ever since. 
 It gave an impulse to my whole life and affected 
 my course and labor as a reformer. It was the 
 effect of but a single word." 
 
 3. In his Yale Lectures, Mr. Beecher com- 
 mends variety of vocal tones in addressing an au- 
 dience. " If you wish to draw them into sym- 
 pathy and to win them by persuasion, and you are 
 near enough for them to feel your magnetism 
 
AETICULATION^. 49 
 
 and see your eye, so that you need not haye to 
 strain your voice, you must talk to them as a 
 father would talk to his child. You will draw 
 them, and will gain their assent to your propo- 
 sitions, when you could do it in no other way, 
 and certainly not by shouting. 
 
 ** On the other hand, where you are in eager 
 exhortation, or speaking on public topics, where 
 your theme calls you to denunciation, to invective 
 or anything of that kind, it is then that the 
 sharp and ringing tones that belong to the upper 
 register are sometimes well-nigh omnipotent. 
 There are cases in which by a single explosive 
 tone a man will drive home a thought as a ham- 
 mer drives a nail ; and there is no escape from 
 It.'* 
 
 Many preachers, he says, know nothing 
 about the helpfulness of this tone in carrying 
 nome conviction. He says that after three years 
 mcessant drill in elocution during academic 
 Jife, he, with others, continued the same in the 
 seminary. 
 
 ** We practiced a great deal on what was called 
 *Dr. Barber's System,' which was then in 
 vogue, and particularly in developing the voice 
 in what is called its low register, and also upon 
 the explosive tones. There was a large grove ly- 
 ing between the seminary and my father's house, 
 and it was the habit of my brother Charles and 
 myself, and one or two others, to make the night, 
 and even the day, hideoua with our voices, as we 
 
50 VOCAL CULTUEB. 
 
 passed backward and forward through the wood, 
 exploding all the vowels, from the bottom to the 
 very top of our voices. I found it to be a very 
 manifest benefit, and one that has remained with 
 me all my life long. The drill that I underwent 
 produced, not a rhetorical manner, but a flexi- 
 ble instrument, that accommodated itself readily 
 to every kind of thought and every shape of 
 feeling, and obeyed the inward will in the out- 
 ward realization of the results of rules and reg- 
 ulations." 
 
 Syllabication". 
 
 1. Syllabication or the forming of syllables 
 mcludes accentuation and pronunciation. All 
 are naturally considered under the general topic 
 of Articulation. 
 
 Many words are monosyllables, in which pro- 
 nunciation and articulation are the same. But 
 language grows, symbols and sounds diverge, as 
 hence written tongues become obsolete, as the 
 classic Sanskrit and Chinese. 
 
 2. Monosyllables have but a single impulse^ 
 and polysyllables but one primary accent. 
 
 3. Sometimes the division of a word into 
 syllables is arbitrary, as in poetry, when metre 
 governs; but the rules for division are either 
 founded in the vocality of the vowels, or the re- 
 lation of the elements to each other. Dr. Rush, 
 Prof. Mcllvaine and others have gone into the 
 details of the subject, which belong rather to 
 Orthoepy than to a work on voice culture. 
 
ABTICULATIOM. 61 
 
 4. In general, it may be said, one consonant 
 between two vowels, is taken with the second, as 
 e-ven o-pen, except where the vowel is short and 
 aoceiited, as lep-er, top-ic. Two consonants be- 
 tween two vowels separate each to its adjacent 
 vowel, as ar-row, sig-nal. If the second conso- 
 nant is a liquid, both are usually to go with the 
 succeeding vowel, as se-cret. He-brew. If there 
 are three or more consonants, one goes with the 
 first and the rest with the succeeding vowel, as 
 con-struct. Prefixes and sufilxes are separated 
 from the primitives as bond-age, enroll-ing. 
 
 5. Accent gives unity to words, significance 
 of meaning, antithesis and rhythm. The English 
 is rich in this regard. Words of French origin 
 usually are accented on the last syllable, as par- 
 terre, but Anglo Saxon on the root, as back- 
 ward, 8can-ty. 
 
CHAPTER V. 
 
 Stbess and Emphasis. 
 
 Stbess is the application of vocal force. It 
 involves the idea of time as well as force. It 
 differs from accent or emphasis. This will be- 
 come evident when we consider the six kinds of 
 stress, as first analyzed by Dr. Kush. These 
 are Eadical, Median, Terminal, Compound, 
 Thorough and Vibratory. 
 
 1. Eadical Stress is an explosive force at 
 the beginning of a syllable, as : 
 
 Up ! comrades, up 1 in Rokeby's halls, 
 Ne*er be it said our courage falls. 
 
 It is the characteristic of vehement conviction. 
 It has to do with the intellect and will, and 
 is used in argumentative discourse. Stirring 
 thoughts require radical stress. Too much of it, 
 of course, is a fault, and savors of arrogance, but 
 the absence of it makes the noblest sentiment 
 insipid. As James E. Murdoch says, " the right 
 degree of this function indicates the manly, self- 
 possessed and impressive speaker. The energy 
 of the radical movement may be termed the 
 salt and the relish of oral communication, as it 
 
STRESS AND EMPHASIS. 6d 
 
 preserves the pungency and penetrating effect a 
 articulate utterance. The argumentative speak- 
 er who has not this quality at command, seems 
 to strike with the flat rather than the edge of 
 the oratorical weapon. '^ Even animals know the 
 authority it breathes. 
 
 Let the student practice such extracts as the 
 speech of Cassius to Brutus, which begins, " Hon- 
 or is my story, '^ or Arnold Winkelried, ^^ Make 
 way for liberty ! " or Patrick Henry's speech at 
 the Virginia Convention, 1775. 
 
 2. Median Stress may be compared to the 
 musical crescendo. The voice begins with soft- 
 ness, then swells and diminishes. The tone 
 used is the pure or orotund and the movbment 
 itself is adapted to poetic or emotional utter- 
 ance. 
 
 If overdone, this form of vocal expression be- 
 comes sing-song and mouthing, but properly 
 rendered it is one of the highest embellishments 
 of elocution. Unlike the Kadical, which has to 
 do with syllables, the Median stress covers words 
 and clauses, and exhibits varied and graceful 
 gradations. 
 
 There is a delicate, subdued swell expressive 
 of tranquillity and of admiration, as: 
 
 All hail ! thou lovely queen of night t 
 
 Sublimity and reverence require a deepei 
 tone and fuller crescendo, as: 
 
64 VOCAL CULTUKJ£. 
 
 Father I 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. 
 Fit shrine for humble worshipper to hold 
 Communion with his Maker I 
 
 The book of Psalms, and other devotional 
 portions of the Bible, require this style of ex- 
 pression. 
 
 3. Tekmin^al stress is force on final sounds. 
 It is expressive of earnest purpose, and high- 
 wrought feeling. 
 
 Contradiction, rebuke and menace, naturally 
 take the final or vanishing force, so also scorn 
 and malignity. 
 
 You sTuulf I won't/ 
 
 But here I stand and scoff you I here I fling 
 Hatred and full defiance in your face 1 
 
 Fret till your proud heart break / 
 
 Oo, show your slaves how choleric you are. 
 
 4. CoMPOUN^D STRESS unitcs the Eadical and 
 Terminal stress. It expresses sarcasm, surprise 
 and contempt. 
 
 Will not the villain drown t 
 
 6. Thorough stress is a full, sustained, 
 "organ tone." It is used in calling, as, 
 
STRESS AKD EMPHASIS. 66 
 
 Lend, lend, your wings, I mount, 1 flj I 
 O Grave I where is thy victory ? 
 
 Death 1 where is thy sting ? 
 
 Boat alloy ! Boat ahoy ! 
 
 It is also appropriate to rapturous exultation 
 and kindred emotions. 
 
 These are thy glorious works. Parent of good, 
 
 Almighty ; thine this universal frame, 
 
 Thus wondrous fair ; thyself how wondrous then! 
 
 Unspeakable, who sit'st above the heavens. 
 
 To us invisible, or dimly seen 
 
 In these thy lowest works ; yet these declare 
 
 Thy goodness beyond thought and power divine. 
 
 6. ViBRATOKY STRESS is a tremor, or inter- 
 mittent emission of the voice. It is compared 
 to the shivering motion of the muscular frame, 
 and is appropriate to represent the pathos oi 
 grief, and sometimes the tremor of joy. 
 
 Miranda's ejaculations illustrate the latter : 
 
 Oh I wonder 1 
 How many goodly creatures are there here ! 
 How beauteous mankind is I Oh 1 brave new world. 
 That has such people in 't 1 
 
 Eve, pleading with Adam not to leave her 
 with grief and almost terror, 
 
 1 beg and clasp thy knees ; bereave me not. 
 Whereon I live, thy gentle looks, thy aid. 
 Thy counsel in this uttermost distress. 
 My only strength and stay ; forlorn of thee 
 Whither shall I betake me, where subsiBtt 
 
66 TOCAL CULTUEB. 
 
 Fatigue and exhaustion are pictured, not only 
 by prone posture, limp and languid motions, bui 
 by tremor of Toice. 
 
 Dear master, I can go no farther ; 
 
 Oh 1 I die for food 1 Here I lie down and measure out 
 my grave. Farewell ! 
 
 So Orlando's response to Adam would take, 
 sympathetically, the same tremor, as in soothing 
 or coaxing. 
 
 Live a little, comfort a little, cheer thjself a little 
 For my sake be comfortable ; hold death awhile at th» 
 arms* end, I will here be with thee presently. 
 
 The vibratory stress w alsp shown in th# 
 tones of trembling age. 
 
 Pity the sorrows of a poor old man 
 
 Whose trembling limbs have borne b'm ^ your doo» 
 Whose days are dwindled to the shortest span. 
 
 1 give relief, and Heaven wiU bless your store. 
 
 Good taste governs here, as in other elocu 
 tionary efforts. A perfect command of th> 
 form of stress is secured, as Russell, suggests, b; 
 ** often repeated practice on elements, syllable, 
 and words, as well as on appropriate passages o^ 
 impassioned language. Without its appeals to 
 sympathy and its peculiar power over the heart, 
 many of the most beautiful and touching passa- 
 ges of Shakespeare and Milton become dry and 
 cold. Like the tremula of the accomphshed* vo- 
 calist, it has a charm, for the absence of which 
 
STRESS AND EMPflASIo. ST 
 
 nothing can atone, since nature suggests it aa the 
 genuine utterance of the most delicate and thrill- 
 ing emotion. On the other hand, its indis- 
 criminate or too frequent use will spoil the effect 
 of the best composition, and render ridiculous 
 the most tender and pathetic utterance.'* 
 
 Emphasis. By this is meant an impressive 
 expression of words and sentences according tc 
 the sentiment conveyed by them. Mere accent 
 has to do with syllables, but Emphasis, like 
 ** Expression" in music, applies to consecutive 
 sounds. 
 
 We speak of the drift of a discourse, or the 
 prevailing character of it. Dr. Kush uses the 
 same word to describe the recurrence of any 
 style of expression, or tone. It is often a per- 
 suasive charm of speech if skillfully introduced. 
 ** The ear of discerning judgment and of true 
 taste, however, is always offended by any percep- 
 tible drift, not authorized by a predominating 
 emotion associated with the language of a speak- 
 er, or composition in the hands of a reader." 
 
 1. The first form of emphatic expression has 
 been illustrated by force. Loudness of voice 
 gives a kind of impressiveness. Authority, sur- 
 prise or anger is often shown simply by an ener- 
 getic expulsion of voice. 
 
 2. There is the emphasis of Pause. This is 
 vastly more effective than mere loudness. Take 
 the request of Paul before Agrippa, as a familiar 
 example. Bepeat it without a pause and then 
 
68 VOCAL CULTURE. 
 
 notice the improyement made by a pause before 
 the last word ; keeping up :he voice on the word 
 "me." 
 
 "I beseech thee to hear me patiently." 
 
 With the pauses of grammar, all are familiar, 
 but rhythmical and rhetorical pauses are vivid 
 representatives of metrical beauty and impas- 
 sioned utterance. The latter produce amazing 
 results. One can imagine the awful hush which 
 followed the words of Antony. 
 
 My heart is in the coffin there with CaeoKt, 
 And I must pause till it come back to me. 
 
 Though speech is silver, silence is said to be 
 golden, for it adds to the feeling already roused 
 by eye and ear, the power of the imagination. 
 " It is analogous to that stroke of high art em- 
 ployed by an ancient painter, who, in order to 
 represent the overwhelming grief and despair of 
 Agamemnon, at the sacrifice of his daughter 
 Iphigenia at Aulis, portrayed him with a veil 
 over his face, that the imagination might 
 be left to conceive of what no art could de- 
 pict." 
 
 Pulpit orators, like Massillon and Whitetield, 
 understood this element of dramatic art. When 
 the former was closing his discourse at St. Eus- 
 tache, on the small number of the elect, the 
 entire audience rose to their feet, " as if looking 
 for the archangel to sound/' 
 
STRESS AKD EMPHASIS. 69 
 
 Wliitefield's call to the recording angel to stay, 
 was another bold employment of this form oi 
 expression, which in the case of an inferior 
 speaker, or less excited audience would have been 
 a failure. 
 
 3. The emphasis of Tone is another. It is 
 not the loudness of utterance, but that delicate, 
 subtle and often unconscious inflection of the 
 voice, that conveys an impression which the wor^ 
 itself is inadequate to convey. 
 
 The student will do well to notice the voices 
 in the street, of children at play and ordinary 
 conversation, if he would understand the mar- 
 velous variety of expression in^he human voice, 
 
 Cade^stce is the closing tone of the sentence. 
 It is partial, when a part of the meaning is com- 
 pleted, and complete when the whole is finished. 
 In the following sentence, the word ** closing " 
 marks the partial cadence, and the last word the 
 final falling of the voice. 
 
 I liave but one remark to make in closing, and I shall 
 make it once for all. 
 
 Nowhere is the need of a competent teacher 
 realized more, than in this simple, yet important 
 and difficult exercise. 
 
 The following are illustrations of cadence. 
 The first is plaintive, with a chromatic triad, and 
 the second with a falling fifth. 
 
60 VOCAL CDLTUKE. 
 
 Pity the ^^^ rows of a poor^j^ 
 
 Bru says ^® was *^^^. 
 tus ^^^^ 
 
 The tremulous intervals are too minute to be 
 measured. The celebrated Mara had a compass 
 of three octaves, and she was able, it is said, to 
 determine the contractions of her vocal muscles 
 to about the seventeen- thousandth of an inch, 
 or sound a hundred different intervals within 
 the limits of a single tor.e. Savart says the 
 perceptive power of man exceed* eveu 24«00C 
 vibrations a secSnd. 
 
CHAPTER VI. 
 
 INFLECTIONS, Pitch and Melody. 
 
 1. Inflection is a natural slide of the ^ oic€ 
 m speech. It is a function of pitch and is con- 
 crete or continuous, and discrete or broken. 
 The concrete is illustrated on the yiolin, when 
 the stop finger is drawn up and down a string 
 while the bow crosses it. 
 
 So the word " indeed " uttered in surprise or 
 sarcasm, with a descending or ascending move- 
 ment. The discrete is shown in playing or sing- 
 ing the scale with a rest between each note. 
 
 2. The voice, like the violin, usually exhibits 
 a continuous or sliding movement. Keyed in- 
 struments like the piano give divided sounds. 
 Inattention to these variations causes two faults, 
 very common in reading, monotony and sing 
 song. The former is the concrete for discrete 
 as in the tame and mechanical recitation, ham- 
 mered out on one key, " Ten -times-one-are- ten, 
 ten-times-two-are-twenty." The wrong use of 
 the concrete gives a monotonous chant, up and 
 down with uniform cadence, a sing-song or so- 
 porific lullaby. 
 
6J? VOCAL CULIUllE. 
 
 3. There are six slides, the upward, the down 
 ward, the rising circumflex, the falling circum- 
 flex, the double rising, and the double falling 
 circumflexes. The length and intensity of each 
 is measured by the energy of feeling to be ex- 
 pressed. 
 
 Illustrations with piano-forte or organ. 
 
 Strike F and then G. Sing to the finpt note 
 the syllable I, and to the second long E. Now 
 repeat the question. 
 
 '' Did you say I ? " 
 
 The musical intonation of the last word in- 
 dicates the IN^TERVAL OF THE SECOKD, USCd in 
 
 unexcitcd statement, in simple questions oi 
 narration. 
 
 The ikteryal of the third may be illus- 
 trated with the same sentence, using F and A. 
 The range of voice is increased and the expres- 
 sion of the sentiment is thereby empliasized. 
 Conceive the question to impugn the veracity of 
 the person addressed, and the surprise is shown 
 by the Fifth, using E and B or by the Octavb 
 F and F, where the highest degree of astonish- 
 ment and irritation is shown. 
 
 A reply to each of these queries may be put 
 into the expression: 
 
 ''YG^lyou.'' 
 
 Take A and G on the instrument. To the 
 first note put long u and to the second, oo. 
 Pronounce both at once and you have the down- 
 W^d second. The notes indicated by the letteri 
 
IKFLECTIONS. 63 
 
 B and G, give tlie slide of the third; u and i 
 the downward fi/ih and ff the octave. 
 
 4. The general principle which governs in- 
 flections is this ; complete and positive utter- 
 ances take a downward inflection, while incom- 
 plete or uncertain ideas are expressed by an 
 upward turn. Under the first are classed sim- 
 pie affirmations, as, " Time is money.'* So also 
 are questions which do not admit of an answer 
 yes or no, and those beginning with a pronoun 
 or adverb. The last member of an antithesis 
 takes the downward slide. Concessions and cate- 
 gorical questions take the upward inflection. A 
 repeated question or an appeal, may, however, 
 take a downward inflection. 
 
 Illustrations of downward movement. 
 
 What constitutes a State ? 
 Men, high-minded men. 
 
 Why walk in darkness ? 
 Why shun his loving ray ? 
 
 Smk or swim, live or die, survive or perish. 
 The following have the upward inflectioiL 
 
 I admit that he meant well. 
 Will you go with me ? 
 
 Parentheses usually take the samB final mfleo 
 fcion as that of the preceding member ; as. 
 
 He (Edward Everett) was an eminent scholar. 
 Consult your best friend, (I mean your mother) when 
 f oa are in doubt. 
 
(S4 VOCAL CULTURE. 
 
 Chore IS 3.1S0 a suspension of the voice, which 
 differs from both the rising and falHng inflection. 
 It resembles a rhetorical pause, yet the sound is 
 not wholly interrupted. It is seen in the famil- 
 iar stanza 
 
 There is a fountain, filled with blood 
 Drawn from Immanuel's veins. 
 
 Either the rising or falling inflection of 
 *^ blood" spoils the beauty of the sentiment. 
 The word is slightly prolonged, and joined with 
 the word '^ drawn," both being identical in pitch 
 and power. Thus rendered, the idea i,s made 
 vivid that the source of the blood is the very 
 veins of Christ ! 
 
 This quality of voice is exhibited in such 
 cumulative descriptions as this : 
 
 Warms in the sun, refreshes in the breeze, 
 Glows in the stars, and blossoms in the trees. 
 Lives through all life, extends through all extent^ 
 Spreads undivided, operates unspent. 
 
 Circumflexes are used in mockery, petulance, 
 sarcasm and other forms of passion. Cold, intel- 
 lectual tones cannot give voice to raillery or bur- 
 lesque, sorrow or scorn. 
 
 An expression like this, illustrates a rising 
 wave, or circumflex, on " fear ; " 
 Do you fear me ? 
 
 The answer shows the downward wave ; 
 I do fear you 
 
PITCH AXD MELODY. C5 
 
 A double wave, rising, is seen in the ^ord 
 * may ; " 
 
 It may be so. 
 
 A double circumflex, falling, in the word 
 '' fairer;'' 
 
 She is fairer than I. 
 
 But the living voice is more helpful than 
 diagrams or printed examples possibly can be. 
 
 Pitch and Melody. 
 
 1. Pitch is the degree of elevation in sound, 
 [n this branch of elocutionary drill, we again see 
 the connection between the singing and speaking 
 voice. Those whose musical tastes are cultiva- 
 ted, have a great advantage, not only in flexi- 
 bility, power and sweetness of tones, but in deli- 
 cacy of hearing, and in the ease with which they 
 follow a teacher's instructions. 
 
 2. The term Eegister describes the compass 
 of the voice, or a portion of that compass. Dr. 
 Rush, Lablache, Bassini, Seller and others, 
 have investigated the subject with great pains- 
 taking. For convenience we may take the fol- 
 lowing transitions as a guide. 
 
 The Bass Voice. 
 E F G A B D E F G A B D E F. Tho 
 
 1 fl a 4 • • T 8 !• 11 IS la 14 II 1 
 
 first eleven notes comprise Madam Seller's first 
 •eries of the chest Register of the male voiM. 
 
66 VOCAL CULTURE. 
 
 The last five form a second scries of the chest 
 •agister. 
 
 The Ten^or Voice. 
 
 The/r5^ series of the chest register compnse 
 the 8^^ 9% 10**^ and 11^^ notes indicated above, 
 and the remaining five the second series of the 
 chest register. The next five higher notes are 
 the first falsetto register and the next six th^ 
 second series of falsetto, rarely used. 
 
 The Female Voice. 
 
 Beginning with E of the tenor voice, six 
 notes mark the first series of the chest register 
 the next three the second series ; the next four 
 the first falsetto ; the next three, the second fal- 
 setto, and seven above them the head register, 
 
 3. All forcing of the voice is injurious alike 
 to its quality and pitch. Practice should be had 
 with moderate breath, beginning in the middle 
 voice and descend with quiet, evenly sustained 
 tones. As Dr. Streeter says, " From the lower 
 to the higher is nature's law. Trees develop 
 from their roots. If singers, then, wish to se- 
 cure perfect development of the upper tones, let 
 them secure a healthy, flexible control of the 
 lower part of the voice first, then, when tliey 
 shall have developed power, let them properly 
 direct that power in attaining the upper tones, 
 and success is insured." 
 
 4 TKe sentiment must determine the pitch. 
 
PITCH AX I) MELODY. 6? 
 
 Dnemotional utterances take tlie middle key, 
 while the passions take wide ranges of pitch. 
 Earnest and serious thought, like the following 
 Btanza, should be recited in a low, grave tone. 
 Dr. Payson's utterance of these words is said to 
 have been thrillingly solemn. 
 
 Lo t on a narrow neck of land, 
 Twixt two unbounded seas, I stand, 
 
 Yet how insensible I 
 A point of time, a moment's space, 
 Removes me to yon heavenly place. 
 
 Or shuts me up — in hell I 
 
 An extract from Mrs. Hemans is an example 
 of high pitch. 
 
 Ring joyous chords ! ring out again ! 
 
 A swifter still and a wilder strain 1 
 
 And bring fresh wreaths, we will banish all 
 
 Save the free in heart from our festive hall. 
 
 5. Most of people pitch their voices too high, 
 both in conversation and in public address. On 
 the other hand, Eussell suggests that studious 
 people are apt to assume a low, hollow tone, 
 which gives formality and dullness, A still 
 more noticeable fault of this class is the habit of 
 lowering the pitch, and weakening the iitteranco 
 as a sentence proceeds. A full volume of breath 
 dies always to a feeble close, and the tone itself 
 slides down an inclined plane into indistinctive^ 
 ness and insipidity. There may be but little 
 help in a diagram, but the following from Zachos, 
 
68 VOCAL CULTURE. 
 
 has been often used by the writer's classes as an 
 example of transition. 
 
 Moderate 5 
 
 
 Hoarse wintry blasts. 
 
 4 
 
 
 A solemn requiem sung 
 
 T^w S 
 
 
 To the departed day, 
 Upon whose bier the velvet 
 pall of midnight had been flung, 
 And nature mourned through one 
 
 2 
 
 
 Very low 1 
 
 
 
 wide hemisphere. 
 
 To those who are bass singers, this example 
 may be of use, intoned as follows, the first line a 
 low D, with the last word on E flat ; the first 
 two words of the next line on E flat', the next 
 five on E, and the last on F ; and the last line F 
 ending with P sharp. 
 
 There was silence, and I heard a voice saying, shaL 
 mortal man be more j ust than God ? Shall a man be 
 moro pure than his Maker? 
 
 1. Melody of speech is the progression of 
 successive sounds. It is Diatonic, when carried 
 through the interval of a whole tone, and Chro- 
 matic or Semitonic, when the progression is 
 through a half tone. The former is used in 
 fiimple narration, and the latter in words of com- 
 plaint or tenderness, and in the whining tone of 
 a peevish invalid. 
 
 These musical terms may not apply as strictly 
 to the speaking voice, as they do to the voice in 
 song ; yet elocutionary art may approximate to 
 the precision of science. The Diatonic melody 
 
PITCH AND MELODY. 69 
 
 is the ordinary flow of the continuous sounds 
 in the scale, never rising from syllable to sylla- 
 ble, more than two degrees in any one succession, 
 before it begins to fall ; except a special empha- • 
 sis necessitates a skip higher or lower. But wider 
 sweeps of melody are had in sentences and their 
 members. These and the capacity of different 
 syllables to advance melody, are explained by 
 Zachos in detail. Analytic Elocution, chap. iv. j 
 This extract from Mrs. Browning, is an ex- 
 ample of progression through whole tones. . 
 
 Poetry is essentially truthfulness ; and the very Inco- 
 herences of poetic dreaming, are but the struggles and 
 the strife to reach the True in the Unknown. 
 
 Anton/s speech over Brutus furnishes semi- 
 tonic intervals. 
 
 O mighty Caesar 1 Dost thou lie so low ? 
 
 Are all thy conquests, glories, triumphs, spoils. 
 
 Shrunk to this little measure ? 
 
 2. The mokotone is a comparatively un- 
 varying movement of the voice, indicative of 
 vastness or o\erpowering sublimity. The emo- 
 tion is too deep to allow of a free and varied in- 
 tonation. There is not strictly one tone, but 
 really successive repetitions of the same radical 
 and concrete pitch. 
 
 The following from the book of Job is an 
 example. 
 
70 VOCAL CULTURE. 
 
 In thotiglits from the visions of the night, when deep 
 Bleep falleth on men, 
 
 Fear came upon me, and trembling, which made all 
 my bones to shake. 
 
 Then a spirit passed before my face ; the hair of my 
 flesh stood up : 
 
 It stood still, but I could not discern the form there 
 of : an image was before mine eyes. 
 
 3. Key in music, or in speech, designates 
 succession of tones. 
 
 The Key note is the first sound of the suc- 
 cession, and the last, as well. Cadence secures 
 a close, by resting the last sound in the key 
 note, without which the melody would appear 
 unfinished. 
 
 The radical pitch is that in which an utter- 
 ance begins, in comparison with the pitch which 
 marks the end. The Greeks had three intervals 
 between four degrees, or Tetrachord. Two such 
 make our octave. Intonation is the act of sound- 
 ing the notes of a melody, pr the recognition of 
 intervals. Modulation or change of key, is the 
 variation of the tones in ascending and descend- 
 ing progression. It includes these four essen- 
 tials, the quality of voice used, its pitch, powei 
 and rate. By some elocutionists, these are con- 
 sidered under the general term Expression". 
 
 Quality of tone has been considered in Chap- 
 ter IIL Enough has been said of pitch. A few 
 examples may be given for nractice in power 
 anl rate. 
 
PITCH AND MELODY. 71 
 
 Gentle force. 
 
 Heard ye the whisper of the breeze. 
 
 As softly it murmured by, 
 Amid the shadowy forest trees? 
 
 It tells with moaning sigh, 
 Of the bowers of bliss on that viewless shore. 
 Where the weary spirit shall sin no more. 
 
 Moderate Force. 
 
 rJome unto me, all ye that labor and are heavy laden, 
 and I will give you rest. 
 
 Take my yoke upon you, and learn of me ; for I am 
 meek and lowly in heart : and ye shall find rest unto 
 your souls. 
 
 For my yoke is easy, and my burden Is light. 
 
 Loud Force. 
 
 And I beheld, and heard an angel flying through the 
 midst of heaven, saying with a loud voice, Woe, woe, 
 woe, to the inhabiters of the earth, by reason of the oth- 
 er voices of the trumpet of the three angels, which are 
 jet to sound ! 
 
 ** Forward the Light Brigade ! charge for the gunii ♦ " 
 he said. 
 
 Slow Moyement. 
 
 The curfew tolls the knell of parting day , 
 The lowing herd wind^ slowly o*er the lea ; 
 
 The plowman homeward plods his weary way, 
 And leaveb the world to darkness and to me 
 
 Moderate Kate. 
 
 The Spirit of the Lord God is upon me : because the 
 LOBD hath anointed me to preach good tidings unto the 
 
72 VOCAL OULTUBB, 
 
 meek : he hath sent me to bind up the broken-hearted, to 
 proclaim liberty to the captives, and the opening of the 
 prison to them that are bound ; 
 
 To proclaim the acceptable year of the Lord, and the 
 day of vengeance of our God; to comfort all that mourn ; 
 
 To appoint unto them that mourn in Zion, to give un- 
 to them beauty for ashes, the oil of joy for mourning, the 
 garment of praise for the spirit of heaviness ; that they 
 might be called Trees of Righteousness, The Planting oi 
 the Lord, that he might be glorified. 
 
 Quick movement. 
 
 Away I away to the rocky glen 
 
 Where the deer are wildly bounding ! 
 
 And the hills shall echo in gladness again 
 To the hunter's bugle sounding. 
 
 Each of these features of rate and of powei 
 of utterance can be made more or less pronounced 
 as good taste may suggest. The thought of a 
 writer must be carefully studied before the reader 
 can successfully interpret it through vocal signa. 
 
CHAPTER VIL 
 
 Person ATiOK. 
 
 pERSOi^ATiOK is picturing persons or things 
 '* lie is the best orator who can turn men's ears 
 into eyes," says the Arabian proverb. The 
 voice, skillfully managed, even without a ges- 
 ture, can represent scenes and ideas with won- 
 derful vividness. The secret of success is the 
 culture of the imagination. The speaker must 
 have a picture in his own mind before he can 
 influence others. ^^ If I find a student destitute 
 of imagination, I give him up, as a hopeless 
 case," said one of the oldest teachers of Elocu- 
 tion in the country. But few, however, are 
 wholly destitute of this faculty. By careful 
 observation of the world about us and by reading 
 and repeating aloud the scenic descriptions made 
 by the best word painters we may develop the 
 sense of the beautiful or sublime within us, and 
 so be able to furnish others with the mental 
 images that we have formed. Henry Bascom, 
 when asked the source of his success in preach- 
 ing, said that it was by painting everything viv- 
 idly in his own mind and then speaking of it as 
 he saw it before him. The imagery of the Bible 
 
74 VOCAL CULTURE. 
 
 illumined tlie mind of Milton in preparing what 
 is justly regarded the most sublime poem, of its 
 class, in the language of man. A patient exam- 
 ination of the poetic portions of Scripture will 
 exert a direct and powerful influence in the 
 culture of the imagination. 
 
 The following will serve as an example for 
 practice. Emotions of awe, humility and fear 
 are to be represented by low, solemn tones, ap- 
 propriate pauses and varied inflections, in accord- 
 ance with previous rules. 
 
 In the year that king Uzziah died, I saw also the Lord 
 sitting upon a throne, high and lifted up, and his train 
 filled the temple. 
 
 Above it stood the seraphim : each one had six wings » 
 with twain he covered his face, and with twain he cov- 
 ered his feet, and with twain he did fly. 
 
 And one cried unto another, and said, Holy, holy, hol> 
 is the Lord of hosts ; the whole earth is full of his glory. 
 
 And the posts of the door moved at the voice of him 
 that cried, and the house was filled with smoke. 
 
 Then said I, Woe is me ! for I am undone ; because 1 
 am a man of unclean lips, and I dwell in the midst of a 
 people of unclean lips : for mine eyes have seen the King, 
 the Lord of hosts. 
 
 The " May Queen " is a picture of overflow- 
 ing girlish glee. The pitch is high, the move- 
 ment rapid, and the tone a musical and joyous one. 
 
 You must wake and call me early, call me early, mother 
 
 dear ; 
 To-morrow'll be the happiest time of all the glad New 
 
 Year 
 
PERSOKATIOK. 75 
 
 Of all the glad New Year, mother, the maddest, merriest 
 
 day; 
 Fop Vm to be Queen o' the Majl mother, I'm to be 
 
 Queen o' the May I 
 
 Here is a showman's comic speech, to be 
 rendered in a style of mingled drollery and dig- 
 nity. The voice is to be flexible, and the slides 
 and inflections managed with delicacy and pre- 
 cision. 
 
 Gentlemen and ladies, here you have a magnificent 
 painting of Daniel In the lion's den. Daniel can be 
 easily distinguished from the lions by the green cotton 
 umbrella under his arm. 
 
 A serious, earnest and indignant outburst of 
 oratory, is seen in this extract from Patrick 
 Henry. 
 
 The man must be personated who gave the 
 first impulse to the ball of the Eevolution ; he 
 who stood before the Virginia House of Bur- 
 gesses, in 1775, and declaimed against the 
 Stamp Act ; he who was menaced by the Tory 
 cry of ** Treason,*' and yet who quailed not for 
 an instant. 
 
 The whole scene must be reproduced in im- 
 agination. 
 
 Caesar had his Brutus, Charles the First his Cromwell, 
 and George the Third — " Treason " cried the speaker, 
 '• Treason I Treason 1 Treason 1 " re-echoed from every 
 part of the house. It was not in their power, however, 
 to friirhten him, but fixing his eye on the speaker, ha 
 
76 YOCAL CULTURE. 
 
 finished witli eyes flashing scorn — " may profit by these 
 examples I If this be treason, make the most of it." 
 
 Collins' Ode to the Passions is another selec- 
 tion which will bring the imagination into play, 
 and call out one's powers of delineation. 
 
 The study of facial expression is an essential 
 part of dramatic personation, but this rather lies 
 in the department of Gesture, which is next to be 
 considered. The pictorial features of words, 
 noticed in Chapter IV, will also greatly contrib- 
 ute to this form of vocal embellishment, the 
 value of which is so well known by every intelli- 
 gent speaker. 
 
CHAPTER VIIL 
 
 Gbstuke. 
 
 1. Gesture is a universal sign language. 
 The position and movements of the body, even 
 without a spoken word, reveal thought and pur- 
 pose. Men of all nationalities, and even brutes, 
 understand the expression of the countenance, 
 and many of the gestures of the hand. Here 
 is one of the elements of the histrionic art, as 
 distinguished from other fine arts. While 
 music addresses the ear, and painting, sculpture 
 and architecture the eye alone, oratory commands 
 both the faculties of seeing and of hearing. *^ As 
 the concurrent testimony of two witnesses, has 
 not merely double, but many times greater force 
 than that of one, so when a sentiment is ad- 
 dressed to both of these senses at the same time, 
 it produces immeasurably greater effects upon 
 the soul, than when it depends on either of them 
 alone." 
 
 The number and variety of signs are almost 
 infinite. Hence the power of pantomime, as 
 practiced by the ancients, or the sign language 
 of mutes in our day. '^ Acts speak louder than 
 words," in an artistic, as well as in a moral sense. 
 
78 VOCAL CULTURE. 
 
 A barbarian prince, witnessing a Eoman pan 
 toniime, requested the Emperor to permit him 
 to take home the leading actor, to use as a silent 
 interpreter to the visitors whom he received, but 
 could not converse with. " Without the hand 
 there's no eloquence," says Cressolius. The 
 Egyptian symbol of language is a tongue placed 
 under a hand. The latter is, indeed, a formid- 
 able rival of the voice, for, as light travels faster 
 than sound, so gesture and facial expression tel- 
 egraph impressions to the mind before the voice 
 of i he speaker can complete a sentence. Both 
 are needed if we would, like the son of Hermes 
 
 " With siren tongue and speaking eyes, 
 Husli the noise and soothe to peace." 
 
 2. "We must distinguish between Rhetorical 
 and Colloquial gesture. The former is appro- 
 priate to sacred and forensic oratory, the plat^ 
 form, the bar and pulpit. The latter accompanies 
 conversation and all familiar discourse. The 
 elbow rather than the shoulder is the centre of 
 motion. The action is simple, graceful, re- 
 strained and quiet, while the movements suitable 
 for the orator before a large audience, and 
 engaged with some inspiring theme, are bold, 
 energetic and more varied. Addison says, **Our 
 preachers stand stock still in the pulpit, and will 
 not so much as move a finger to set off the best 
 sermons in the world. We meet with the same 
 ipeaking statues at our bars, and in all publio 
 
GESTURE. 79 
 
 places of debate. We talk of life and death in 
 cold blood, and keep our temper in a discourse 
 which turns upon everything that is dear to us." 
 Dean Swift called churches ^* public dormitories," 
 and Sydney Smith refers to the tame and lan- 
 guid air of his associates, and says that "the word 
 sermon has come to describe a piece of writing in 
 which there is an absence of everything agreeable 
 and inviting. He asks why preachers should be 
 *^ holy lumps of ice," and if ^* sin is to be taken 
 from man as Eve was from Adam, by casting 
 them into a deep sleep ? why call in the aid of 
 paralysis to piety ? Is it a rule of oratory to 
 handle the sublimest truths in the driest mari- 
 ner?" 
 
 Paul never would have been thought '^ mad," 
 nor Peter '' drunken," if they had been thus 
 frigid in their apostolic discourses. Happily, 
 there is an improvement seen since the satires of 
 Smith were penned, yet by no means as general 
 fts it should be. Those whose office is to '^per- 
 suade men," cannot ignore any ally to conviction, 
 nor neglect any instrumental art like gesture, 
 because in some cases it has degenerated into 
 jiTtifice. 
 
 3. There are general cautions here to be no- 
 ted. Beware of too many gestures, which, like 
 too much emphasis in reading, cheapens and 
 weakens, by very satiety, and lack of discrimina- 
 tion. Beware of puny and irresolute action. 
 This fault is common with beginners. Thera 
 
80 TOCAL CULTURE. 
 
 are instinctive motions of the hands, but the8« 
 ai'e only aimless gyrations about the hip joint, 
 or awkward pump-handle movements up and 
 down, with the elbow at the side. The natural, 
 physical expression of emotion is hard to re- 
 press, but these nervous and irresolute move- 
 ments, guided by no intelligence, awaken only 
 pity, or disgust. 
 
 Avoid the extreme of extravagance in gesture. 
 Quintilian said of those of his day, eighteen cen- 
 turies ago, "they saw the air, they use their 
 hands as if they had claws, pawing with them, 
 and others thrust out the arm, expanding the 
 hand and inverting the thumb, and call this 
 speaking in a commanding gesture, wliile another 
 blows and wipes his nose without necessity." 
 There might be added the vulgar habit of slap- 
 ping the pulpit Bible, or pounding the pulpit 
 cushion. We remember the command to an old 
 prophet, " Thus saith the Lord God, smite with 
 thine hand, and stamp with thy foot, and say, 
 alas, for all the evil abominations of the house of 
 Israel ! " but, we see no parallel in the two cases. 
 Quietness often impresses more than extravagant 
 action. ^^ The tap of Caesar's finger was enough 
 to awe a senate." 
 
 Monotony is another fault. Prof. Porter 
 tells of one preacher who had but three gestures, 
 first, with the right hand, then the left, and then 
 with both. Keybaz, as quoted by the same, 
 affirms that "a dull uniformity of action, is the 
 
GESTURE. 81 
 
 jommoB defect of preachers." Doubiless the 
 reading of sermons and the interposition of a 
 desk between a speaker and his audience, go far 
 to explain the mechanical style referred to. 
 
 Inappropriateness in gesticulation often neu- 
 tralizes the whole effect of the utterance which 
 it accompanies. The writer recalls this example 
 of incongruous gesture in a speaker, who was 
 discussing the divine mercy. With upraised 
 hand and fist shaken at the heads of his hearers, 
 he quoted the verse beginning, " God so loved 
 the world, that he gave his only begotten Son," 
 etc., not realizing the ludicrous contrast between 
 the sentiment and the gesture. 
 
 Others are betrayed into error by following 
 the words without reference to their significance. 
 The word all may refer to geographical extent, 
 as a promise of " great joy which shall be to all 
 people," or it may refer merely to numerical 
 ideas, as ''^ all the days of Methuselah were 960 
 years." The outspread hands may represent the 
 former, but nothing is needed to emphasize the 
 latter statement. In quoting Hamlet's contemp 
 of a fawning sycophant 
 
 Let the candied tongue lick absurd pomp. 
 And crook the pregnant hinges of the knee. 
 When thrift may follow fawning . . . 
 Give me the man that is not passion's slave ; 
 
 a blundering actor once knelt and kissed the 
 hand, the very thing his lips pronounced disgust- 
 
 4 
 
82 VOCAL CULTURE. 
 
 fuL All erect posture and a scornful mien, 
 properly accompanies the utterance. A felici- 
 tous gesture, even without a word, has marvelous 
 pjwer. Says a Greek admirer of Caesar, ^^his 
 right hand was mighty to command, and by its 
 majestic power did quell the fierce audacity of 
 savage men." The Roman who pleaded for his 
 brother's life by lifting the stump of his own 
 arm, lost in the country's service, did more than 
 verbal eloquence could do. We are told that all 
 the influence of the Roman Tribunes could not 
 persuade the people to pass a vote of condemna- 
 tion against Manlius, while he stood and silently 
 stretched out his hand toward the capitol, which 
 hv his valor had been saved. 
 
 POSITION. 
 
 The directions already given for Stmidingy 
 (Chapter 11.) need not be here repeated. 
 
 The work of Rev. Gilbert Austin, an emi- 
 nent elocutionist of London, in 1806, is the 
 leading authority in this department. lie re- 
 marks, in general, that the speaker should pre- 
 sent himself cequo pedore, with his breast fully 
 fronting the audience, "never 'n the fencing 
 attitude, with one side exposed. The manly in- 
 clination of the sides should also be attended to, 
 for, without this position, the body will seem 
 awkward and ill-balanced, the inclination of the 
 sides withdraws- the upper part of the body from 
 
GSSTUBE. 83 
 
 khe direction of the sustaining limb, and incimeB 
 it the other way, while it throws the lowei part 
 of the body strongly on the line of the supporting 
 foot." The trunk slightly moves with the mo- 
 tions of the arms. Yet, avoiding the stiffness of 
 a log, one must not allow contortions of the 
 body, but make such movements as will naturally 
 embellish and emphasize speech. The carriage 
 of the person, including the expressioc of his 
 face, should indicate self-possession and dignity, 
 and be equally removed from timidity on the one 
 hand and impudence on the other. 
 
 Changes of position, according to Prof. Rus- 
 sell, should only be made during the act of speak- 
 ing and not at the pauses, except the retiring 
 movement at the close of a division of the subject. 
 Thus the voice and body are kept in simultane- 
 ous action with the mind,y and all become parts 
 of the whole delivery. / 
 
 The Feet, with the toes turned outward, 
 should form half a right angle, the heel of the 
 right foot being about throe inches from the in- 
 step of the left. When moved, there should be 
 no shuffling, but deliberation, quietness and 
 precision should mark every change. 
 
 Firs* Position, Advance the right foot and 
 let the left support the weight of the body. 
 
 Second Position. Throw the weight of the 
 body on the right foot advanced, and let the left 
 foot with its heel slightly raise i, balance the 
 position. 
 
84 VOCAL CULTURE. 
 
 The two attitudes represent the speaker at 
 
 ease, as Zachos terms it, the centre of gravity 
 
 falling within the foot on which you rest, so that 
 
 you can gracefully move to another posture, 
 
 whereas if both feet equally support the body, 
 
 I the transfer of the centre of gravity from one 
 
 I foot, in order to free the other for motion, gives 
 
 J a rocking motion to the whole body. 
 
 I The two corresponding .actions of the left 
 
 ^ foot also represent what we call the ^' Posture 
 
 OF Ease." Either of the four attitudes may be 
 
 optional. 
 
 Third Position. Advance the right foot 
 from the first position one stej) in the direction 
 in which it was pointing and balance on the left 
 foot, the heel of which is slightly raised. 
 
 Fourth Position, Eemove the right foot to 
 the rear of its first position and put it at right 
 angles with the left, the heel of the left being 
 raised. The weight, of course, still rests on the 
 right foot. 
 
 Nos. 3 and 4 also may be taken with the left 
 foot, mutatis muta7idis, and so four forms are 
 had of the " Posture of Appeal," or self-reli- 
 ance. This term is merely assumed for the sak€ 
 of convenience to distinguish from that of Ease 
 vhich is not as bold an attitude. 
 
 The Hands have five primary movements. 
 
 1. Supine, that is, open with the palm upward, 
 
 2. Prone, or inverted, the palm down- 
 ward. The thumb in both cases is a little sep^ 
 
6E8TUKB. 
 
 88 
 
 fated from the fingers, which are kept together, 
 but not rigidly flat. 
 
 3. Pointing. The index finger stretched and 
 the others curved, but not shut tight. 
 
 4. Clinched or Fist, with the knuckles of tha 
 thumb uppermost. 
 
 5. Vertical. 
 
 The Arms take seven general directions, 
 
 QESTUBB. 
 
 front, oblique, lateral and backward » descend 
 ing, horizontal and upward. 
 
 Of these, the cut above lepresenli combina- 
 tions, as arranged by Prof. A. M. Bacon, in his 
 admirable " Manual of Gesture,'' from which the 
 illustration is taken. 
 
86 VOCAL CULTURE. 
 
 The vertical lines 1, 1, are front y 2, 2, oblique, 
 3, 3, lateral, 4, 4, backward oblique. 
 
 The circle 5 marks descending gestures, the 
 circle 6, horizontal, and 7 ascending. 
 
 Descending front, d. f. 
 " oblique, d. o. 
 
 " lateral, d. 1. 
 
 *' backward, d. b. 
 
 Horizontal front, h, f. 
 ** oblique, h. o. 
 
 " lateral, h. 1. 
 
 *' backward, h. b. 
 
 Ascending front, a. 1. 
 ^^ oblique, a. o. 
 
 " lateral, a. 1. 
 
 *' backward, a. b. 
 
 These twelve gpstures, first with one supine 
 hand, then with the other, and then with both 
 hands supine, and then with similar chauges ol 
 the prone and vertical hands, make a system of 
 108 gestures. As Prof. B. observes, ^* These, 
 executed in various ways, in straight lines and 
 curves, through large and small space, with quick 
 and slow movement, and accompanied with end- 
 less variety of changes in attitude and facial ex- 
 pression, together with the movements denomi- 
 nated special gestures, furnish a vocabulary of 
 
GESTURE. SI 
 
 gdstuTe, commensurafce with the realm of thought 
 and feeling. The descending gestures belong to 
 the sphere of the Will, and therefore predomi- 
 nate in strong resolve, the horizontal more espe- 
 cially to the Intellect, and are employed in gen- 
 eral thought. The ascending gestures belong to 
 the Imagination^^ The gestures in front are 
 personal, direct and emphatic, but usually grow 
 less so, as they are removed to the rear, indica- 
 ting remoteness in thought, time or place. 
 Keep in mind the distinction made between 
 Colloquial and Khetorical gestures, already 
 noticed. In his lectures. Professor Sprague 
 divides all gestures into three kinds, those of 
 place, of imitation, and of force or emphasis. 
 There are some gestures which might be called 
 conventional, and which, for some unknown 
 reason, are given the same significance by all of 
 the civilized world, such as a nod for Yes, a shake 
 of the head for No, but these are really gestures 
 of place. Gesture is an outward bodily expres- 
 sion of inward feeling. The head and hand, and 
 perhaps the whole body, turns unconsciously 
 to the place the mind already has decided the 
 object thought of should occupy. The first step 
 is conception in the mind, the next the move- 
 ment of the eye toward that place, then of the 
 face, then the hand, next the finger points it out, 
 and last of all comes the expression by words. 
 This is the natural sequence of gestures of place. 
 He also properly connocta the extent of a gesture 
 
88 VOCAL CULTUEB. 
 
 with the character of the things described. The 
 greater their moral or physical grandeur, the 
 more extended is the gesture. For noble things 
 the upward or sweeping gesture of the hand is 
 ased ; for vile or base things the downward. 
 In order, however, to describe things by ges- 
 ture correctly, they must first be located in the 
 mind. 
 
 Here again is seen the power of an imagina- 
 tive, sympathetic mind. Prof. S. recalls Mr. 
 Beecher's description of a man going about 
 searching for something in a dark room with a 
 lighted candle in his hand. He so identified 
 himself with his subject that he groped about 
 the stage, as if he were really the man, and at 
 the end of his remarks involuntarily wiped ima- 
 ginary candle-grease dripping from his fingers, 
 with his handkerchief. Gestures of place define 
 the value of an object ; those of limitation the 
 how, and those of emphasis the how much. In 
 gestures of emphasis the greater the earnestness 
 the louder the voice, or greater the bodily mo- 
 tions. Different speakers emphasize by different 
 motions. Some do so by an impressive nod of 
 the head, and he who can combine such a nod 
 with the proper expression of the eye has achieved 
 a great success. 
 
 These details of gesture can be followed out to 
 almost any extent. Bacon's Manual gives a hun- 
 dred and fifty pages of directions, and Austin's 
 Chironomia is a quarto of six hundred pages. 
 
GESTURE. 89 
 
 Then there is the whole Qcld of dramatic ges- 
 ture, which diilersfrom oratorical, as the theatre 
 differs from the pulpit or forum. This manual 
 does not enter it further than to note a few Dra- 
 matic Postures, 
 
 1. Eapture. The hands are clasped and 
 held just below the throat a little distance from 
 the person. The face is raised, and countenance 
 is made expressive of the emotion symbolized. 
 
 2. Remorse. The face is bowed and the 
 olasi^ed hands pressed to the chest. The feet in 
 both these postures can take either of four rela- 
 tions already noted. 
 
 3. Dread. The feet are placed in the 4th 
 position, the body slightly crouching, and both 
 hands held vertical, one near the face and the 
 other extended. If the left foot supports the 
 chief weight, the right hand is advanced, and 
 vice versa. The face looks at the object. 
 
 4. Disgust. The posture is similar to No. 3, 
 only the face is averted and the body is drawn 
 backward. The hands and feet are kept as be 
 fore. 
 
 5. Appeal. Erect posture and open hand 
 laid on the heart. Do not mistake its location 
 and make an appeal to the stomach, as some 
 persons do, when they say, " My heart is with 
 you ! " 
 
 6. Soliloquy. Folded arms, or either fore- 
 finger on the temple. Feet inposition No. 1 or 
 slowly vralking, as if in self-communing. 
 
90 vocal culture. 
 
 Special Gestures. 
 
 1. Folded Hands, when the right hand ia 
 laid between the forefinger and thumb of the 
 left hand and the fingers of each hand lie on the 
 back of the other. 
 
 2. Clasped Hands, when the fingers of one 
 hand are inserted between those of the other and 
 pressed down. 
 
 3. Joined Hands, uplifted, applied flat, palm 
 to palm and finger to finger. The sides of the 
 thumbs touch each other, but do not touch the 
 forefingers. This is a devotional gesture. 
 
 4. Crossed Hands, when the left is laid on 
 the breast, and the right is placed crosswise on 
 the left. 
 
 5. Hands Noting, numerical or logical se- 
 quence, with one or all the fingers of the right 
 gently striking the open left hand. 
 
 6. Hands Beckoning, Either the left or 
 right hand is used according to the direction 
 from which the person is called. The palm ia 
 held inward and one or all the fingers flexed. 
 
 7. The Wave, when the open hand is thrown . 
 in a vertical direction, ending with a slight back- 
 ward motion. 
 
 8. Tlie Flourish, Zachos defines as a simple 
 circular motion of the hand above the head. 
 
 9. The Sweep, The right hand, vertical, is 
 moved from before the left shoulder, toward the 
 right and backward, en'iing with the hand 
 
UNIVERSITY 
 
 OF 
 
 JRB. 91 
 
 anpine. Or, beginning with the hand supine, 
 the sweep may end with the hand vertical. Bj 
 returning the arm through the same arch, the 
 sweep is doubled. 
 
 10. The Shake, a tremulous motion of the 
 hand, is to be rarely used. 
 
 11. Rejection. Both the hands vertical, are 
 energetically pushed backward and downward. 
 
 12. Repression. Both hands are extended and 
 prone. Motion at the wrist. 
 
 THE POWEE OF THE PANTOMIME. 
 
 The Oriental understands it. ^^ He winketh 
 with his eyes, he speaketh with his feet, he 
 teacheth with his fingers." Seated on the 
 ground, with the hands resting on knees or feet ; 
 sometimes with covered fingers, and often with 
 the touch of the toe, even, he silently communi- 
 cates with his fellow. Miles, in his ** Pictorial 
 writing in the Bible," says that to avert an evil 
 eye, the Oriental pointed at the evil person with 
 the little finger and forefinger, the middle fin- 
 gers being closed. They do so in Rome to-day, 
 and have for two thousand years, as shown by 
 the walls of the houses at Pompeii. The gest?c- 
 alation of Da Vinci's " Last Supper " is note- 
 worthy. Canova once held a silent interview 
 with a Neapolitan, by eye and hand alone. 
 Venus riding the panther, is a pictorial version 
 of the subiection of Power to Beauty, De Vere 
 
9% VOCAL CULTURE. 
 
 tells of a Greek warrior, enamored of an Athe- 
 nian lady, who silently told his love \j draving 
 his sword, which had cut off the heads of thjty- 
 five Turks, and laying it at her feet. 
 
 We are poorer in the mimetic art, because ^e 
 are less vivacious, and use pen and type so much, 
 as Miles suggests. The Hebrew and Greek 
 scriptures, he truly says, are a photograph from 
 life, but ours are faded and worn, being a copied 
 pliotograph. 
 
 Jewish speech and gesticulation are borrowed 
 from the Egyptian forms. "Lay thy hand 
 upon thy mouth, and go with us," said the spies. 
 Judges, xviii, 19. The hieroglyph is the same. 
 The spreading hands lifted in prayer, the bend- 
 ing knees, and the folded wings, indicative of 
 divine protection, are also found in the same 
 ancient archives. " Pictures m the air " are the 
 alphabets of the dumb. They have five hun- 
 dred significant movements. Time present is 
 shown by the prone palm near the body, the 
 future by a push forward, and the past by a back- 
 ward movement. The idea of size, by the rising 
 and falling hand, emotions by the eye, the lip or 
 fihrugged shoulder. Among the early Indians, 
 it is said, one could travel from Hudson's Bay 
 to the Gulf of Mexico, by the help of the panto- 
 mime. Only six of the 150 signs are not evi- 
 dent. Water was represented by a scooping ges- 
 ture carried to the mouth ; a dog by two fore- 
 fingers trailed, as it drew a sled, and a stag w^k 
 
GESTURE. 9^ 
 
 thumbs and forefinger, at the teini)le, bent out 
 like horns. Truth was pictured by the straight- 
 forward finger moved from the lips, and a lie by 
 a sidelong motion of two fingers, indicative of a 
 double tongue. The countenance, of course, 
 aided gesture. One writer speaks of a narrative 
 of a shipwreck, which was told him in panto- 
 mime by a mute, so that an intelligent idea of 
 the facts was gained by the silent story. 
 
 It was in the age of Augustus, that the 
 Roman pantomime was brought to greatest per- 
 fection. By the " talking hand," loquaci manu, 
 aided by music and dancing, audiences were held 
 entranced by the hour. But the introduction of 
 lewd women, sometimes nude, brought the bal- 
 let into bad repute. The term pantomime now 
 is applied to dumb shows without the dance. Its 
 study is directly related to that of gesture. 
 
 THE RHETORIC OF GESTURE. 
 
 So closely connected are composition and de- 
 livery that the style of Rhetoric, Prof. Bacon 
 observes, must govern the gesture. ^^Impera- 
 tive and vivid styles demand frequent and forci- 
 ble action and vice versa. Gestures should be 
 connected and harmonious. Appropriate and 
 graceful action does not consist in isolated move- 
 ments. The hand must not drop after each 
 emphatic word. On the contrary, the different 
 movements should sustain such ^ relation to each 
 
94 VOCAL OULTUBB. 
 
 othei as to promote a good effect on the whole. 
 Harmony and luiity are the essential elements ot 
 grace. A gesture is sometimes modified by its 
 relation to other gestures, or by the combined 
 effect of the action, as in the passage : 
 
 The Lord bringeth the counsel of the heathen to 
 naught ; He maketh the devices of the people of none 
 effect. 
 
 The first clause taken independently, and 
 with moderate emphasis, would employ the de- 
 scending lateral to express nonentity ; but since 
 another clause of similar import is added, the 
 oblique is appropriated to the first, in order to 
 reserve the lateral for the second. 
 
 Gesture is modified by individual character. 
 What is becoming to one, may not be so to an- 
 other. This remark applies to the frequency and 
 variety and manner of execution. The orator 
 who keeps within the bounds of calm reasoning, 
 will confine himself chiefly to the class called 
 assertive gestures, and will execute these with 
 moderation ; while one who is firm in his con- 
 victions, and possesses great strength of will, 
 naturally lifts the hand higher and brings it 
 down more forcibly. One possessing a vivid im- 
 agination will abound in descriptive gestures. 
 Some physical organizations are more favorable 
 to rhetorical action than others ; pliability ol 
 muscle and facility of motion generally will en- 
 able one to do what would be quite unbecoming 
 
OESTUEE. 95 
 
 in another to attempt. Let eyery one adopt that 
 style of action which is best adapted to his own 
 mental and physical organization, subject always 
 to the general laws of expression." 
 
 Advais^taqes of Extempore Speech, 
 
 There are obvious advantages which the au- 
 dience reap, in being brought into magnetic sym- 
 pathy with the orator. There are benefits which 
 he enjoys by the reflex influence which the audi- 
 ence thus exert on him, and, in the case of the 
 preacher, in being in a more responsive and ex- 
 pectant attitude before God, whose aid he feela 
 need of, as the reader of a manuscript cannot 
 But as related to the matter of gesture alone, tfie 
 speaker has a double freedom, when paper 
 crutches are dropped. He has this iuspiration 
 from his audience who follow him, and whom he 
 follows, and he has not the barrier of wood which 
 a reading desk interposes between him and them, 
 and which is apt to lead to constrained forms of 
 gesture. 
 
 But, in this passing notice of a theme which 
 belongs to another department of Ehetorical cul- 
 ture, the student mUoC be reminded that the pen 
 and the voice must be in use alike, continually. 
 In other words constant writing is necessary to 
 secure felicitous, off-hand speech. 
 
 It is said that Cicero acquired his rich vocabu 
 Viry by translating Greek into Latin. 
 
96 yOCAL CULTURE. 
 
 William Pitt devoted much time, for ier 
 years, in translating Latin into English. He 
 thus attained a wonderful mastery over the Eng- 
 lish language. Words were his tools and woap 
 ous, and he wielded them with pc ver which ha^ 
 8e»dom been surpassed. 
 
 Rufus Choate pursued this plan of transla 
 ting through his whole life, as well as study ol 
 the dictionary. 
 
 The peroration of Lord Brougham's celebra- 
 ted defence of Queen Caroline, is considered one 
 of the most eloquent passages in the Englisli lan- 
 guage. He says : 
 
 " I composed the peroration of my speech for 
 the queen, after reading and repeating Demos- 
 thenes for three or four weeks. I composed it 
 twenty times over at least." He adds that '* even' 
 after the habit of easy speaking is acquired, one 
 3an never write too much. It is laborious. But 
 it is necessary to perfect oratory; and at any 
 rate it is necessary to acquire the habit of cor- 
 rect diction. But I go farther and say that even 
 to the end of man's life he must prepare, word 
 for word, most of his finer passages." 
 
 One more suggestion is this, write for the 
 ear as well as for the eye. Composition has its 
 phonetic features as truly as its logical. Long 
 and involved sentences are hard to speak, un- 
 pleasant to hear, and hard to remember. Avoid 
 episodes and parentheses. Do not crowd too 
 ^iich into a sentence. Select short wordg rathftf 
 
tfESTURE lr« 
 
 than lon^ ones, ana lamiHar woras rather than 
 technical or outlandish ones. A specific term is 
 better than a general, as a tulip or rose instead 
 jt a flower, a robin instead of a bird. After 
 sareful writing, extemporize without referenc6 
 to the phrasing A the thought, and do not em- 
 barrass yourself by trying to remember the exaot 
 wordfl. 
 
CHAPTER DL 
 
 Facial Expression. 
 
 " I do believe thee ; 
 I saw his heart in his face." — STiakspean 
 
 '• Come, let us look one another in the face." — 
 
 2 Kings, xiv, 8, 
 
 Physiognomy, according to Lavater, is the 
 knowledge of the powers and inclinations of m»n, 
 and teaches us his character at rest, while Path- 
 ognomy is a knowledge of the signs of the pas- 
 sions, or character in action. While few under- 
 stand the former, all are able to comprehend the 
 latt^^r ; hence the need of attention to the coun- 
 tenance, in our study of oratory. Sir Charles 
 Bell, in 1806, published the first edition, and in 
 1844, his third edition, of his ^'Anatomy and 
 Philosophy of Expression," in which he shows, 
 among other notable facts, the intimate relation 
 between the movements of respiration, and of 
 facial expression. For example, he shows tliat 
 the muscles around the eye contract during expi- 
 ratory exertion, to protect these delicate organs 
 from engorgement of blood and rupture. So, 
 
FACIAL EXPKESSIOX. 
 
 1^9 
 
 lOO, in tlie violent screaming of children, nature 
 firmly closes the eyelids. 
 
 Destructive passions cause a general tension 
 of the muscular system, and depression of vital 
 force, while pleasure, as in laughter, creates an 
 overflow of nerve-force, and is associated with 
 bodily action. The chin and forehead of the 
 Eoman are in the perpendicular facial line. 
 Both of them, in the case of the beggar, retreat 
 from that line indicating a lower grade of in- 
 tellect. 
 
 ■▲Rons AQRIFFA AND A ITEORO BSCKSAB. 
 
 niustratlng Camper's facial angle. 
 
 Darwin has given in his '^Expressions of 
 Emotions in Man and Animals" the fruits of 
 thirty years of observation. He studied the in 
 
100 yOCAL CULTURE. 
 
 iane and infants, whose acts are more sponta- 
 neous and uncontrolled than others ; the effects 
 of galvanism on facial muscles ; the passions of 
 lower animals, and also the habits of savage 
 tnbes. From all these he deduces three 
 
 GENERAL PEINCIPLES. 
 
 1. That of Habit and Association. The con- 
 ducting power of nervous fibres increases with 
 their frequent excitement, so that the most diffi- 
 cult movements are performed unconsciously. 
 Physical changes thus occur in nerve cells, and 
 tendency to certain acts is transmitted, as is seen 
 in the pace of a horse, the flight of a bird, and 
 the inherited taste of a caterpillar. He cites an in- 
 stance of a certain strange gesture of the uplifted 
 right hand, ending in a peculiar blow, and only 
 performed in sleep. This inherited habit appears 
 in three consecutive generations, and was ac- 
 companied with pleasurable emotions. 
 
 Cardinal Wolsey's ways are delineated in 
 Henry VHI, Act 3. 
 
 Some strange commotion 
 Is in his brain : he bites his lips and starts ; 
 Stops on a sudden, looks upon the ground, 
 Then lays his finger on his temple : casts 
 flis eye against the moon ; in most strange posturei 
 We have seen him set himself. 
 
 It is the habit of many people, who, trying to 
 r6oall somethiHfij, alwavs look upward, as if to 
 
FACIA^ EXPRESSION. 101 
 
 Bee it. Another rubs his eyes, or hems, the re* 
 suit of habit and association. 
 
 2. Mr. Darwin's second principle is that of 
 Antithesis. As one state of the mind leads to 
 one habitual movement which is of service, an 
 opposite state leads to an opposite expression, 
 though it has never been of service. We move 
 our bodies in a direction in which we wish a 
 body to move, though we know this has no in- 
 fluence whatever ; and an opposite movement 
 or expression accompanies an opposite state of 
 mind. 
 
 There are other expressions wholly independ- 
 ent of the will and of habit. Trembling from 
 iear or joy, and blushing are illustrations. The 
 vaso-motor system regulates the size of the 
 small arteries. The slightest excitement of a 
 sensitive nerve affects the heart and this reacts 
 on the brain. The overflow of nerve force first 
 affects the respiratory and facial muscles, because 
 most used. The heart is not under the power of 
 the will, and the muscles of the face but partly. 
 The glands, also, are independent. Tears come 
 unbidden, and so saliva, when tempting food is 
 placed before the eye. Secretions of the breast 
 and other organs are also instantly affected 
 through the nervous system. Darwin thinks 
 that those actions least under the control of the 
 will, are longest retained. All these facts show 
 how complex is the theory of expression and 
 how much must remain inexplicable. 
 
102 VOCAL CULTURE 
 
 Suggestions as to Practice. First, the 
 expression of the eye is to be studied, as the 
 most expressive part of the countenance. 
 
 1. Look at those addressed. The eye ^'bent 
 on vacuity," looking at the people as a mass and 
 not individually, or the eye that only looks up 
 from the manuscript to the ceiling and back 
 again, loses its magnetism. It has no more pow- 
 er than the glass eye in the figures of paste that 
 whirl around in a milliner's window. The hu- 
 man eye has one set of voluntary straight muscles 
 which move the ball in every direction for vis- 
 ion. These resign their activity in sleep or 
 fainting and the involuntary oblique muscles roll 
 the ball up under the lid. Hogarth has por- 
 trayed the stupor of inebriation, where the 
 struggle between the two sets of muscles is seen 
 to go on. The heaviness of eye in some speak- 
 ers, recalls the same struggle, particularly those 
 who are tied to notes, and who occasionally lan- 
 guidly lift up the eye from them to vacancy 
 above. 
 
 In looking at the audience do not overlook 
 the nearest, but let the eye rest an instant on an 
 individual, and then run along either to right or 
 left, or rearward to the farthermost person. The 
 " visional grasp " of an audience, as Bacon terms 
 it, gives a speaker a wonderful control. 
 
 2. Let the usual expression of the eye be 
 kind and respectful. The pulpit and platform 
 present a curious variety of eyes. Some, when at 
 
I^AClAL EXPRfiSSlON. 103 
 
 refitj shine with sunshine, and soma are satur- 
 nine ; some are apologetic and some are arro- 
 gant ; some inspire love and others repel. 
 
 " The strongest passion bolts into the face,^ 
 therefore one should cultivate kind and cheerful 
 feelings, if he would prepossess his audience in 
 his favor before he speaks. Preachers, particu- 
 larly, are apt to carry an abstracted, or weary or 
 sad face into the pulpit. Did they know how 
 much of contagious influence came from the eye, 
 helpful or harmful, they would pay more atten- 
 tion to this matter. 
 
 3. If objects are delineated, or apostrophes 
 spoken, the eye is turned to its object. The 
 speaker's eye should not look at his gesticulating 
 hand. 
 
 4. Sometimes the eye precedes the hand, as 
 sometimes the hand precedes the voice, to height- 
 en the effect, when the occasion demands it. 
 
 5. Avoid mere artifice and finical elegance 
 In movements or expression of the eye. Affecta- 
 tion here is specially disgusting. Cicero said of 
 Hortensius, that his delivery had ^' even more 
 of art than was sufficient for an orator." It is 
 possible to be ^' faultily faultless.'' 
 
 If the eyes are the most expressive part of the 
 countenance, the mouth is hardly less so. It is, 
 according to an old writer, "the vestibule of the 
 soul, the door of eloquence, the place where 
 thoughts hold high debate." In his Essays on 
 
104 
 
 VOCAL CULTURE. 
 
 Art, Palgrave says, " In manhood, all the regi* i 
 of the forehead above and around the eye, aid 
 all that lies arounr* the mouth are euned and 
 
 channelled with the memorials of a thouaand 
 thoughts and impulses. In the beautiful phrase 
 which Wordsworth applied to the mountains, 
 * they look familiar with forgotten years ' ; thef 
 record a life's experiences." 
 
JfACIAL EXPRESSION. 105 
 
 1. Avoid uncouth movements of the mouth. 
 Some smack their lips, some lick them, or twist 
 and bite them. Many suffer from nervousness 
 which causes grimaces. The suggestion of prac- 
 tice in oratory, before a mirror is often sneered 
 at by those who need it most ; for if they saw 
 themselves as others see, they would be slow to 
 mflict on an audience, the mannerisms and ludi- 
 crous distortions which they do. A competent 
 teacher, however, is better still. 
 
 2. The covering of the lips and chin with 
 beard is healthful, but it hides from view many 
 of the signs of thought and emotion which reveal 
 themselves there. Says Sir Charles Bell : " In 
 the most impassioned discourse the action is con- 
 centrated to the lips. Long before a child is 
 taught to speak, we may see an imperfect agita- 
 tion of the lips and cheeks, and sounds are ut- 
 tered, which wait only for the effort of imitation 
 to become language. '^ He might have added 
 the fact that those partially deaf, depend on see- 
 ing the delicate play of the muscles of the mouth, 
 to interpret what the voice fails to convey. 
 
 3. Mobility of the muscles of the mouth ia 
 not wholly a natural gift. Any student of Del- 
 Barte, the late master of histrionic art in Eurupe, 
 knows the marvelous power that culture and 
 practice impart. Careful study of statue and 
 photograph ; quick observation in following the 
 fleeting changes of facial expression in others, 
 and above all, untiring practice in th^ methods 
 
106 VOCAL OULTURfi. 
 
 of delineation with appropriate development of 
 the imagination, accomplish marvels. 
 
 Mr. J. S. Mackay was a pupil of Dclsarte, 
 and from his lecture, as reported in a Bog ton 
 daily, the following- extract is taken. With re- 
 gard to gesture in the system of Delsarte there 
 were nine principles. The first is this, that 
 "gesture is the elliptical expression of human 
 thought and emotion," that is, the means by 
 which the hidden sense of a phrase is interpret- 
 ed ; and this is the exclusive characteristic of ges- 
 ture. Mr. Mackay illustrated this idea by giving 
 two forms of address to a child, in one of which 
 the words were all unfriendly, but the action 
 was loving, while in the other the language was 
 affectionate but the gesture and expression were 
 repellant. It would be easy to anticipate which 
 fcalutation would attract the child. The other 
 principles were these : that ease in force is the 
 secret of power ; that equilibrium is the basis of 
 grace, and opposition is the basis of equilibrium; 
 that parallel movements should always be in suc- 
 cession, and opposing movements simultaneoaa ; 
 that facial expression should precede gesture, 
 and gesture should precede speech ; that gener- 
 osity of movement is the true secret of charm in 
 gesture ; that silence is the parent of gesture ; 
 and, finally, that research for gesture is the 
 worst of vices, no gesture being permissible ex- 
 cept that which is imperatively demanded by the 
 situation. Mr. Mackay^s illustration of the law 
 
FACIAL EXPRESSIOl^. lOt 
 
 of parallel motion was unique. When, he says, 
 I am standing in a certain position and ^3 . to 
 turn and look at an object on my right or left 
 hand, if I am an educated gentleman, I turn 
 first my eyes, then my head and lastly my body ; 
 but if I am a clown, I turn my eyes, head and 
 body at one time and with one motion. By the 
 exemplification in his own person it was easy to 
 see the correctness of the principle. The lec- 
 turer also illustrated the rule, that facial expres- 
 sion should precede gesture, and gesture speech, 
 by expressing love and hate in the prescribed 
 manner, which was evidently correct, and then 
 in the reverse, which was seen to be ridiculors. 
 
 He passed on to illustrate the different kinds 
 of gestures, dividing them into three clashes : 
 First, those governed by the will, which begin 
 with the head ; second, those governed by the 
 passions, which begin with the shoulders ; and 
 third, those in which the intellect controls, which 
 begin with the hand. Gestures with the hand 
 made above the level of the waist are indicative, 
 according to Delsarte, of different degrees of af- 
 firmation, from simple assertion to solemn pro- 
 testation, according to the height of the hand ; 
 while gestures made below that level indicate the 
 different degrees of negation. The different po- 
 sitions of the hand were shown, appropriate 
 severally to tenderness, sensuality, examination, 
 veneration, suspicion, exultation, nonchalance 
 and arrogance* The meaning of the various in* 
 
108 VOCAL CULTURE. 
 
 flections of the head was also set forth, Mr. 
 Mackay in this instance, as in every other, ex- 
 emplifying every proposition in his own person 
 by nsing the gesture, attitude or expression which 
 was under consideration. The bearing of the 
 body was considered, and it was shown how 
 hopelessness, cunning, inquiry, carelessness, ar- 
 rogance, energy and other qualities might be 
 exhibited by this means alone. There are three 
 sets of muscles in the face, with the poiution, 
 uses and management of which the student of 
 Delsarte's system is required to be familiar. 
 These muscles are of three sorts, — viz., those 
 which belong to the carnivorous animals as well 
 as man ; those which belong to the graminivo- 
 rous, and those which are altogether human ; 
 and the peculiar character of the passion to be 
 expressed regulates the use of either set. The 
 whole number of expressions of which the eye 
 is capable were discovered by Delsarte's system 
 to be seven hundred and twenty-nine. The 
 nine elementary expressions are the normal, in- 
 different, morose, somnolent, contemptuous, 
 deeply reflective, surprised and resolute. These 
 basis expressions are qualified by the contraction 
 of the inner and outer edge of the eyebrow and 
 by the contraction and falling of the lower lid. 
 The nose, as might be anticipated, is not so rich 
 in expressions as the eye, counting, indeed, only 
 eighty-one in all ; but it has its nine elementa- 
 ries, which are the normal, cruel, sensitive, sen- 
 
FACIAL EXPRESSIOJS. 109 
 
 Bual, disgusted, scornful, aggressive, hateful and 
 furious. The mouth, however, is capable of two 
 thousand one hundred and eighty-seven well- 
 defined phases, all of which are forms or vari^ 
 tions, as in the cases just cited, of an elementary 
 nine, the principal modification coming from 
 the management of the jaws and lips. 
 
 Mr. Mackay went further and more elabo- 
 rately than we shall be able to follow him, into 
 the description and analysis of the other posi- 
 tions and combinations which pertain to the art 
 of expression, and of the gymnastics by which 
 the pupil is taught the use of his face, and of all 
 the parts of his body for the purposes of dra- 
 matic expression. Then, as a grand summariz- 
 ing of the exercises of the art, he shows a num- 
 ber of "chromatic scales" or "gamuts" of fa- 
 cial expression, as he called them, which were so 
 astonishing and impressive, as to beggar all de- 
 scription In exhibiting those gamuts, he stood 
 before his spectators perfectly motionless, except 
 in his countenance, and, starting from the nor- 
 mal expression would make his face pass very 
 slowly through a dozen grades of emotion to 
 some predetermined phrase, and thence he would 
 descend, reversing the previous steps, to perfect 
 repose. Thus, in one instance, he showed a 
 chromatic scale of feeling, running through satis- 
 faction, pleasure, tenderness and love, to adora- 
 tion, and having retraced his steps descended 
 facially^— if that is a proper expression — throu^rb 
 
110 VOCAL CULTURE. 
 
 dislike, disgust, envy and hate, to fury. Again 
 he exhibited with ludicrous, but edifying vivid- 
 ness, the transitions from repose, through jollity, 
 gtillness and prostration, to utter drunkenness ; 
 and made a most astonishing, but painful specta- 
 cle of his fine face by passing through all the 
 grades of mental disturbance to insanity, and 
 down all the stairs of mental weakness to utter 
 idiocy. It would be hard to overestimate either 
 the effort demanded for the performance of these 
 exercises, or that by which the necessary skill 
 was originally attained. The impression pro- 
 duced upon the audience, was at once very lively 
 and very profound. 
 
 The profuse illustrations which adorn Dar- 
 win's work, photographed from some of the most 
 Jfgnorant, as well as from the refined among 
 men, attract, and even startle, by the conspicu- 
 ous contrasts of expression. When to nature 
 is added study or practice, the range is almost 
 infinite. 
 
 In closing, it may be said, in the language 
 of Cicero, that "next to the voice in effective* 
 ness, is the countenance, and this is ruled over 
 by the eyes." Many brutes are kept at bay by fix- 
 ing the eye on their eyes, and gamblers, it is said 
 by Broadns, " rely more upon the study of the 
 eye to discover the state of their opponents' game, 
 than upon any other means. When a man ia 
 possessed with his subject, and thoroughly 
 
FACIAL EXPRESSION. Ill 
 
 gubordinates all thought of self, his countenance 
 will spontaneously assume every appropriate ex- 
 pression." Then will the entire sermo corporis, 
 the speech of the body, truthfully reflect and 
 emphasize the soul that insmres it. 
 
EXAMPLES FOR PRACTICE. 
 
 1. The quality of Mercy is not strained. 
 
 It droppeth as the gentle rain from heaven 
 
 Upon the place beneath ; it is twice blessed ; 
 
 It blesseth him that gives and him that takes. 
 
 'Tis mightiest in the mightiest ; it becomes 
 
 The throned monarch better than his crown : 
 
 His scepter shows the force of temporal power. 
 
 The attribute to awe and majesty, 
 
 Wherein doth sit the dread and fear of kings ; 
 
 But Mercy is above this sceptered sway, — 
 
 It is enthroned in the heart of kings, 
 
 It is an attribute to God himself : 
 
 And earthly power doth then show likest God's 
 
 When mercy seasons justice. — Merchant of Venice. 
 
 2i, To gild the refined gold, to paint the lily, 
 To throw a perfume on the violet. 
 To smooth the ice, or add another hue 
 Unto the rainbow, or with taper light 
 To seek the beauteous eye of heaven to garnish. 
 Is wasteful and ridiculous excess. — King John, 
 
 3. The voice of him that crieth in the wilderness, 
 Prepare ye the way of the Lord, make straight in the 
 desert a highway for our God. Every valley shall be 
 exalted, and every mountain and hill shall be made low ; 
 and the crooked shall be made straight, and the rough 
 places plain. And the glory of the Lord shall be 
 revealed, and all flesh see it together ; for the mouth of 
 the Lord hath spoken it. — Isaiah XL. 
 
 4. The body is not one member, but many. If the 
 loot shall say. Because I am not the hand, I am not of 
 the body ; is it therefore not of the body ? And if the 
 ear shall say. Because I am not the eye, I am not of the 
 body; is it therefore not of the body? If the whole 
 body were an eye, where were the hearing? if the whole 
 were hearing, where were the smelling ? But now hath 
 God set the members every one of them in the body as it 
 hath pleased him. — 1 Cor. XII. 
 
 5. Then sang Moses and the children of Israel thif 
 song unto the Lord, and spake, saying, I will sing untc 
 the Lord, for he hath triumphed gloriously : the horse 
 and his rider hath he thrown into the sea. The Lord is 
 my strength and song and is become my salvation : he is 
 my God, and I will prepare him a habitation ; my father's 
 God, and I will exalt him. The Lord is a man of war| 
 
the LOBD is Tiis name. Pharaoh's chariots and his host 
 hath he cast mto the sea : his chosen captains also are 
 drowned in the Red Sea. The depths have covered them, 
 they sank into the bottom as a stone. Thy right hand, 
 O Lord, is become glorious in power : thy right hand, 
 O Lord, hath dashed in pieces the enemy. And in the 
 greatness of thine excellency thou hast overthrown them 
 that rose up against thee : thou sentest forth thy wrath, 
 which consumed them as stubble. And with the blast of 
 thy nostrils the waters were gathered together : the 
 floods stood upright as an heap, and the depths were 
 congealed in the heart of the sea. The enemy said, I 
 will pursue, I will overtake, I will divide the spoils, my 
 lust shall be satisfied upon them, I will draw my sword, 
 my hand shall destroy them. Thou didst blow with thy 
 wind, the sea covered them: they sank as lead in the 
 mighty waters. Who is like unto thee, O Lord, among 
 the gods ? who is like thee, glorious in holiness, fearful 
 in praises, doing wonders ? — Exodus XV. 
 
 G. Prostrate, dear Jesus, at thy feet, 
 A guilty rebel lies ; 
 And upward to thy mercy-seat 
 Presumes to lift his eyes. 
 
 If tears of sorrow would suffice 
 
 To pay the debt I owe, 
 Tears should from both my weeping eyes 
 
 In ceaseless torrents flow. 
 
 But no such sacrifice I plead 
 
 To expiate my guilt ; 
 No tears, but those which thou hast shed, 
 
 No blood, but thou hast spilt. 
 
 I plead thy sorrows, dearest Lord : 
 
 Do thou my sins forgive ; 
 Then justice will approve the word 
 
 That bids the sinner live. — Stennett. 
 
 7. When public bodies are to be addressed on mo- 
 mentous occasions, when great interests are at stake, and 
 strong passions excited, nothing is valuable in speech 
 farther than it is connected with high intellectual and 
 moral endowments. Clearness, force, and earnestness 
 are the qualities which produce conviction. True elo- 
 quence, indeed, does not consist in speech. It cannot be 
 brought from afar. Labor and learning may toil for it, 
 but they will toil in vain. Words and phrases may be 
 marshalled in every way, but they cannot compass it. 
 It must exist in the man, in the subject, and in the occa- 
 sion. Affected passion, intense expression, the pomp of 
 (113) 
 
ifcclamatior. , all may aspire after it, they cannot reacli it 
 It comes, if it comes at all, like the outbreaking of a 
 fountain from the earth, or the bursting forth of volcanic 
 fires, with spontaneous, original, native force. The 
 graces taught in the schools, the costly ornaments and 
 studied contrivances of speech shock and disgust men 
 when their own lives and the fate of their wives, their 
 children, and their country, hang on the decision of the 
 hour. Then words have lost their power, rhetoric is 
 vain, and all elaborate oratory contemptible. Even 
 genius itself then feels rebuked and subdued, as in the 
 presence of higher qualities. Then patriotism is elo- 
 q«uent ; then self-devotion is eloquent. The clear con- 
 ception, outrunning the deductions of logic, the high 
 purpose, the firm resolve, the dauntless spirit, speaking 
 on the tongue, beaming from the eye, informing every 
 feature and urging the whole man onward, right onward 
 to his object— this, this is Eloquence, or rather it is 
 something greater and higher than all eloquence — it is 
 Action, noble, sublime, God-like Action. — Webster. 
 
 8. The Pilgrim spirit has not fled ! 
 
 It walks in noon's broad light : 
 And it watches the bed of the glorious dead 
 
 With the holy stars at night. 
 It watches the bed of the brave who have bled. 
 
 And shall guard the ice- bound shore, 
 Till the waves of the bay where the Mayflower lay 
 
 Shall foam and freeze no more. — Pierpont. 
 
 9. The style of Dryden is capricious and varied ; that 
 of Pope is cautious and uniform. Dryden obeys the 
 motions of his own mind ; Pope constrains his mind to 
 his own rules of composition. Dryden is sometimes 
 vehement and rapid ; Pope is always smooth, uniform, 
 and gentle. Dryden's page is a natural field, rising into 
 inequalities and diversified by the varied exuberance of 
 abundant vegetation ; Pope's is a velvet lawn, shaven by 
 the scythe and levelled by the roller. — Johnson. 
 
 10. The village all declared how much he knew; 
 'Twas certain he <}ould write and cipher too. 
 Lands he could measure, terms and tides presage. 
 And e'en, the story ran, that he could ^auge. 
 
 In arguing, too, the parson owned his skill, 
 
 For e'en though \ anquished, he could argue still, 
 
 While words of learned length and thundering 
 
 sound 
 Amazed the gazing rustics ranged around. 
 And still they gazed, and still the wonder grew 
 That one, small head could carry all he knew. 
 
 Ooldsmith, 
 
11. Hand iiiiu 
 Awake, awake I and thou, my lu-art, awuke! 
 Green fields and icy cliffs ! ail join my hymn • 
 And thou, O silent mountain s le and bare, 
 
 O ! blacker than tlie darkness, all the night, 
 And visited all night by troops of stars, 
 Or when they climb the sky, or when they sink, 
 Companion of the morning star at dawn, 
 Thyself earth's rosy star, and of the dawn 
 Co-herald ! wake, wake, and utter praise I 
 
 Coleridge. 
 
 1 2. My Lords, I did not intend to have encroached 
 again upon your attention, but I cannot repress my in- 
 dignation. These abominable principles, and this more 
 abominable avowal of them, demand the most decisive 
 indignation. I call upon that right reverend bencli 
 those holy ministers of the gospel and pious pastor's ' 
 our church ; I conjure them to join in the holy work iv- 
 vindicate the religion of their God. I appeal to the wi^ 
 dom and law of this learned bench to defend and suppoi 
 the justice of their country. 1 call upon the bishops t 
 interpose the unsullied sanctity of their lawn ; upon the 
 learned judges to interpose the purity of their ermine to 
 save us from this pollution. I call upon the s] irit and 
 humanity of my country to vindicate the national char 
 acter. — Chatfiam. 
 
 The crowning excellence in the rendering of these 
 extracts is naturalness of expression. The pleader at the 
 bar is apt to speak more naturally than the preacher, 
 partly because his interest is more real, personal, and 
 immediate. He is not usually fettered by MS. He has 
 a point to gain. Rewards await success. He has a 
 greater variety in audience, in topics, and in other things. 
 
 One who intones his prayers will be likely to intone bis 
 sermons. The effort to project one's voice into a vast 
 area, as in English cathedrals, also leads to a peculiar 
 prolongation of tone and improper pronunciation. Cli- 
 matic peculiarities also are to be considered in English 
 voice culture. So, too, national characteristics and social 
 habits have their influence. Perhaps second to none of 
 the moirlding influences, related to sacred oratory, is that 
 of revivals of deep and genuine religion. There is no 
 teacher like the Holy Ghost, inspiring not only spiritual, 
 but real rhetorical power. Art can give rules, but the 
 fervor, solemnity, and power that moves the conscience 
 and will, must be the natural and not the assumed ex- 
 pression of the man. 
 
 (115) 
 
Just ivhat you ivant to knoiv about the correct use of Preposi" 
 tiotJSy Conjunctions^ Relative Pronouns^ and Adxierbs is provided 
 in concise^ handy form ^ ivith illustrative examples^ in this work. 
 
 Connectives of 
 English Speech 
 
 Companion Volume to ** English Synonyms, 
 Antonyms, and Prepositions" 
 
 By JAMES C. FERNALD, L.H.D. 
 
 Editor of '''"'The Standard Dictionary^^^ '"'' English Synonyms 
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 Giving the definitions with the correct usage of 
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 the treatment lucid and convenient." — Public Ledger y Phila. 
 
 *' He points distinctions clearly, shows the common errors, 
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 sources." — Public Opinion ^ New York. 
 
 Uniform Size and Style ivith ^^ English Synonyms ^ Antonyms ^ 
 and Prepositions.''^ I2m0y Cloth. 334 pp' $l.JOynet 
 
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 Connectives of 
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