GIFT OF 
 The Argonaut 
 
PUBLIC SPEAKING 
 
 FOR 
 
 HIGH SCHOOLS 
 
 BY 
 
 DWIGHT EVERETT WATKINS, A.M. 
 
 )v 
 
 PROFESSOR OF PUBLIC SPEAKING AND INSTRUCTOR IN ENGLISH LITERATURE 
 
 KNOX COLLEGE ; FORMERLY INSTRUCTOR IN PUBLIC SPEAKING 
 
 AKRON, OHIO, HIGH SCHOOL ; KNOX EXCHANGE 
 
 PROFESSOR HARVARD UNIVERSITY 
 
 1912-13 
 
 NEW YORK .: CINCINNATI : CHICAGO 
 
 AMERICAN BOOK COMPANY 
 
89S" 
 
 COPYRIGHT, 1913, BY 
 DWIGHT EVERETT WATKINS 
 
 COPYRIGHT, 1913, IN GREAT BRITAIN 
 
 WATKINS, PUBLIC SPEAKING 
 W. P. I 
 
PREFACE 
 
 WITH the increasing demand for Public Speaking work 
 in High Schools, there has come the need for a High 
 School book on the subject. Texts hitherto published 
 have been too extensive and technical, or too vague ; or, 
 finally, too meager, consisting merely of a collection of 
 pieces to be recited in order by the student. This little 
 book, it is hoped, will have none of these faults. The 
 philosophy of expression has been introduced sparingly, 
 and not all of the fine points of technique have been cov- 
 ered. Enough practical directions have been given, how- 
 ever, to set the pupil well on his way to success as an 
 actual speaker, and to prepare him to accept the instruction 
 now being offered in the subject at our best colleges and 
 universities. 
 
 In three respects, it is believed, the book will mark some- 
 what of an advance. First, the subjects of Pitch, Time, 
 Action, etc., are not taken up and exhausted at one time. 
 Lessons in Action are introduced at intervals throughout 
 the work. This follows the correct evolution of the stu- 
 dent of Public Speaking, and has the added advantage of 
 sustaining interest. Second, the many illustrations, aside 
 from their value in catching and holding the attention of 
 the student, will enable him to work alone before his mir- 
 ror in his attempts to master the typical gestures, some- 
 thing that has not been possible where the teacher has had 
 to be depended upon for a model. Third, the numerous 
 Cautions inserted throughout the book will aid materially 
 
 3 
 
4 PREFACE 
 
 in guarding against .ijicprr.ect action and vocalization. 
 Faults are often due to inaccurate observation, and need 
 only to be pointed out to be corrected. 
 
 In the exercises at the close of the several lessons will be 
 found a modest, but, it is believed, an adequate system of 
 vocal and physical culture. Not all the exercises will 
 appeal to all teachers, but the use of any prudent selection 
 from them ought to result in a marked improvement in 
 the work of the class. 
 
 On account of the numerous illustrations, it may at first 
 appear that the subject of Action has been over-empha- 
 sized. On closer examination, however, this will probably 
 not be found the case, although the persuasive power of 
 the delivery that appeals to the eye is often underesti- 
 mated. Those teachers who do not believe in teach- 
 ing Action may, of course, omit all lessons dealing with 
 the subject. The hints appropriated by the student from 
 the illustrations will doubtless not intrude themselves 
 obnoxiously. 
 
 No accompanying book of selections is needed, as plenty 
 of material for practice will be found within the text itself ; 
 and in accordance with the passing of what is termed the 
 "old style" elocution, it will be found that the illustrative 
 selections have been taken, for the most part, from strictly 
 oratorical sources, and an effort has been made to admit 
 only the best models. 
 
 DWIGHT E. WATKINS. 
 
 KNOX COLLEGE, 
 GALESBURG, ILL. 
 
CONTENTS 
 
 LESSON PAGE 
 
 I. How TO STAND . . 7 
 
 II. How TO BREATHE 10 
 
 III. How TO GET A PLEASING VOICE .... 15 
 
 IV. PRONUNCIATION OF SINGLE WORDS .... 18 
 V. PRONUNCIATION OF SINGLE WORDS (Continued] . 23 
 
 VI. PRONUNCIATION IN SENTENCES 27 _^ 
 
 VII. EMPHASIS ""32 
 
 VIII. EMPHASIS (Continued) ....... 36 
 
 IX. EMPHASIS (Continued) -39 
 
 X. FIRST STEPS IN ACTUAL DELIVERY .... 41 
 
 XL PAUSING 43 
 
 XII. PITCH. DEGREE OF PITCH 48 
 
 XIII. RATE 52 
 
 XIV. PAUSING (Continued) .55 
 
 XV. PAUSING (Continued) 58 
 
 XVI. BEGINNINGS OF GESTURE. POINTING .... 62 
 
 XVII. FORCE. How TO APPLY IT 67 
 
 XVIII. FORCE. THE AMOUNT TO APPLY .... 71 
 
 XIX. GESTURE. THE OPEN HAND . . . 75 
 
 XX. MORE SUGGESTIONS ABOUT ACTUAL SPEAKING . . 80 
 
 XXI. PITCH. THE STEP 83 
 
 XXII. PITCH. THE SLIDE 89 
 
 XXIII. FORCE. STRESS 92 
 
 XXIV. FORCE. STRESS (Continued) _ 95 L.. 
 
 XXV. GESTURE. THE CLENCHED HAND .... 98 
 
 XXVI. THE SIGNIFICANCE OF POSITION 101 
 
 XXVII. PITCH. THE SLIDE (Continued) 107 \ 
 
 XXVIII. PITCH. THE SLIDE (Concluded] 11CL-X 
 
 XXIX. PLANES OF GESTURE 112 
 
 XXX. SPEECH MELODY ' . ll5^~-\ 
 
 XXXI. FAULTS IN SPEECH MELODY 123 
 
 XXXII. SOURCES OF POWER IN SPEECH MELODY . . . 130x/" 
 
 XXXIII. GESTURE. THE DRAMATIC HANDS . . . . 133.-, 
 
 XXXIV. QUANTITY 139 
 
 XXXV. TONE COLOR 143 
 
 XXXVI. TONE COLOR (Continued) 146 
 
 XXXVII. GATHERING UP THE ENDS 149 
 
 XXXVIII. STYLES OF SPEAKING 152 
 
 XXXIX. GENERAL OBSERVATIONS ON RECITING . . . 157 
 
 XL. GENERAL OBSERVATIONS ON STAGE DEPORTMENT 160 
 
 APPENDIX 
 
 165 
 
1- Hi. i. The Ward Statue of Henry Ward Beecher at Brooklyn, showing 
 
 the orator in a good speaking position. 
 From Lorado Taft's American Sculpture^ by permission. 
 
PUBLIC SPEAKING 
 
 LESSON I 
 
 HOW TO STAND 
 
 ONE of the first questions to confront a student begin- 
 ning his study of delivery in Public Speaking is How to stand 
 on the platform. This is a very simple matter, but a failure 
 to master it will always handicap the speaker's power. 
 
 By reference to Figure i we may discover the position 
 generally used by the best speakers during the greater 
 part of their work. In this position it will be noticed that 
 the left foot is a trifle, say three to six inches, in advance 
 of the right, and that a line drawn through it from toe to 
 heel would pass through the heel of the right foot. The 
 feet are not parellel, nor, on the other hand, are they set 
 at right angles, but assume a position between the two and 
 more nearly approaching the right angle. There is, of 
 course, a counterpart to this position, in which the right 
 foot is forward and a line drawn through it from toe to 
 heel would pass through the heel of the left foot. The 
 angle between the feet is, as before, just a little less than 
 a right angle. These positions, together with the move- 
 ments made in changing from one to the other, forward 
 and backward, varying the angle between the feet to a 
 slight extent in turning from side to side in order to cover 
 the whole audience, will be enough for most public ap- 
 pearances. 
 
 CAUTION No. i. In changing from one of these posi- 
 tions to the other, be careful to bring the foot directly for- 
 
 7 
 
HOW TO STAND 
 
 ward or directly backward. Do not let the foot move in a 
 semicircle around the stationary heel. 
 
 CAUTION No. 2. In holding either position, do not let 
 the front knee be bent, with nearly all the weight on the 
 back foot. The weight should rest about evenly on both 
 
 FIG. 2. A bad position, front knee 
 bent. 
 
 FIG. 3. Changing posi- 
 tion, bringing the left 
 foot forward. 
 
 (See 
 
 feet, and the front knee should be kept straight. 
 Fig. 2.) 
 
 CAUTION No. 3. In changing from one position to the 
 other, do not move the whole limb stiffly, but bend the knee 
 and take a step, just as in walking. On a carpet, or rug, 
 the toe may even be allowed to slide to position. (See 
 Fig. 3-) 
 
HOW TO STAND 9 
 
 CAUTION No. 4. Be careful not to step too far in chang- 
 ing. If you do, the line passing through the front foot from 
 toe to heel will pass through the instep of the back foot in- 
 stead of the heel. Keep it through the heel. 
 
 CAUTION No. 5. Unless you turn far to one side for a 
 short time to cover a corner of the audience, it is well not 
 to allow either foot at any time to point straight forward 
 toward the middle of the audience. 
 
 CAUTION No. 6. Move only one foot in changing from 
 one position to the other. 
 
 EXERCISES 
 
 1 . Take the position shown in Figure I and then change, observing 
 the method shown in Figure 3. Change back. 
 
 2. Take the position shown in Figure I and then change, going for- 
 ward, as in Ex. i. Now, still going forward, assume the original posi- 
 tion. Repeat, going backward. 
 
 3. Walk several steps forward, assuming with each step one of 
 the positions. Walk backward, still keeping the positions. This may 
 be done to a count of i, 2, 3, 4, etc., given very slowly. 
 
 NOTE. In all these exercises it is well to look at the feet for the first 
 few times. After that, the student should keep his eyes to the front and 
 get the position by merely feeling that he has it right. It is well to 
 practice on a seam in the carpet or on a narrow board in the floor, keep- 
 ing each foot on its own side of the seam or board. 
 
LESSON II 
 
 HOW TO BREATHE 
 
 MOST students think they already know how to breathe. 
 And they do, so far as is necessary to support life and 
 engage in ordinary conversation. But in Public Speaking, 
 
 where a large room 
 must be filled with 
 sound, and where 
 speaking must be 
 kept up for some 
 time, a very much 
 stronger and easier 
 kind of breathing 
 must be used. To 
 explain this stronger 
 and easier kind of 
 breathing, it is nec- 
 essary that we know 
 something of the 
 lungs and the mus- 
 cles about them 
 which make us able 
 
 FIG. 4. The lungs. 
 
 to breathe. 
 
 From Figure 4, it will be seen that the larger part of 
 each lung is at the bottom and not at the top, and that it 
 is shaped somewhat like a bellows. Now, in a bellows, 
 we can get a much stronger stream of air by pressing 
 away out at the larger end, where the handles are, than by. 
 
 10 
 
HOW TO BREATHE 
 
 II 
 
 squeezing the bellows near the nose. So it is with the 
 lungs. We can get a much stronger stream of breath by 
 pressing on them down at the larger end, and nature has 
 provided a way to do this, as will be seen in the next 
 paragraph. 
 
 Across the body, between the chest and abdomen, is 
 stretched a strong partition, called the diaphragm, which is 
 also a powerful muscle. This 
 muscle stands in the body like 
 a large bowl upside down, with 
 what is ordinarily the bottom of 
 the bowl projecting up into 
 the chest. It does not stretch 
 straight across the body, but is 
 a little higher in front than at 
 the back. Now, when we take 
 a breath, this muscle contracts 
 and the bowl becomes more 
 shallow. Instead of looking like 
 a bowl, the muscle now looks 
 more like a platter. (See Fig. 
 5.) By looking at Figure 6, we 
 see that there is now more room 
 above the diaphragm than there 
 was before, and realize that the 
 breath we took was what flowed 
 in to fill up this vacant space. 
 
 We shall also notice that there is less room below than 
 there was, and so something has had to give, or stretch. 
 This was the wall of the abdomen, the waist has increased 
 in size. Of course, along with this action of the diaphragm, 
 goes the more commonly observed expansion of the chest, 
 the lower ribs aiding in increasing the size of the waist. 
 (See Fig. 7.) 
 
 FiG. 5. The diaphragm, the dotted 
 lines showing its position after tak- 
 ing in breath. 
 
12 
 
 HOW TO BREATHE 
 
 In letting the air out of the lungs the reverse of the 
 action just described takes place. The diaphragm relaxes 
 and lets the breath out. Its elasticity brings it back to 
 position. Here, too, as in taking a breath, there is a 
 general action of the chest, in this case the chest becoming 
 smaller and the lower ribs, especially, supplementing the 
 
 B. 
 
 FlG. 6. General position of the body before and after taking in breath. 
 
 action of the diaphragm by gradually floating back, on 
 account of the relaxation of the muscles about them, to 
 their original position. 
 
 There is a way, however, of forcing the air out of the 
 lungs. This is by the use of the strong muscles that form 
 the wall of the waist and abdomen. If you will give the 
 sound of the letter h very forcibly, you can feel the walls 
 of the waist and abdomen strike inward. 
 
 This, then, is the stronger and easier kind of breathing. 
 We increase in size around the zvaist when we take breath, 
 and we decrease in size about the waist wlien we force tJie 
 breath out. We do not raise the shoulders. 
 
HOW TO BREATHE 
 
 CAUTION. Keep the chest well up during both the process 
 of taking breath and letting it out, but do not throw back 
 the shoulders. 
 
 EXERCISES 
 
 4. Standing erect, place the hands upon the waist, and with fingers 
 forward and pointing down. Without raising the shoulders, take 
 a breath slowly through the nose. 
 
 Feel yourself increase in size about 
 the waist as you do this. Now let 
 the air out slowly, also through the 
 nose. Feel yourself decrease in size 
 as you let the air out. Repeat three 
 times. 
 
 5. Do the same as in Ex. 4, but 
 hold the air until you count mentally 
 up to ten, then let the air out all at 
 once. Look for the action about the 
 waist. 
 
 6. Placing the hands upon the 
 waist, fingers forward and pointing 
 down, take a breath slowly through 
 an opening between the lips about 
 the size of a lead pencil. After you 
 have taken a full breath, open the 
 mouth and let the air out all at once. 
 Do not raise the shoulders. If they 
 come down when you let the air out, 
 you must have raised them. Feel 
 
 yourself increase in size about the waist as you take breath, 
 three times. 
 
 FIG. 
 
 The action of the ribs in 
 taking breath. 
 
 Repeat 
 
 7. Taking the same position as in Ex. 6, take a full breath slowly 
 through the nose. Through a small opening between the lips force 
 out the air in little jets. Be sure you feel a distinct stroke about the 
 waist. Repeat three times. 
 
 8. Give the sound of h vigorously several times. Do not strike 
 down with the upper part of the chest. Obtain definite waist strokes 
 as in Ex. 7. 
 
14 HOW TO BREATHE 
 
 9. Through slightly opened lips take in a full breath very quickly, 
 without changing the position of the lips, then let the air out as slowly 
 as possible. Repeat three times. 
 
 The following cautions taken from Dr. Mills's Voice 
 Production should be carefully observed : 
 
 1 . Never continue any exercise when there is a sense of discomfort 
 of any kind whatever. Such usually indicates that it is being carried 
 out too vigorously. 
 
 2. Increase the depths of the inspirations daily, but not very rap- 
 idly. 
 
 3. The inspirations and expirations should be carried out very 
 slowly at first. 
 
 4. Cease the exercise before any sense of fatigue is experienced. 
 Fatigue is nature's warning and should be always obeyed. It indicates 
 that the waste products which result from the use of the muscles are 
 accumulating and becoming harmful. 
 
 It might be added that dizziness is often experienced 
 where the exercises are carried on too vigorously or for 
 too long a time. Stop at once, in this case. 
 
LESSON III 
 HOW TO GET A PLEASING VOICE 
 
 AFTER the speaker is able to take a good position on 
 the platform, and to breathe correctly, attention must be 
 given to his voice, for speaking is the next step. 
 
 Beauty of voice depends, first of all, on getting clear 
 tones. There must be no huskiness. The person must 
 not seem to talk through his teeth, or through his nose. 
 The tones, too, must seem to have a ring to them. 
 
 If the tones are husky, there is generally something 
 wrong with the breathing. Huskiness is due to the fact 
 that there is too much breath escaping. Practice the ex- 
 ercises in Lesson II until you are sure you breathe cor- 
 rectly, and then, keeping the same style of breathing, 
 practice the vocal exercises at the end of this lesson. 
 Listen very, very closely to your tones to detect any sound 
 of breath escaping. Do not be satisfied until you have an 
 absolutely clear tone. Do not strive for loudness just yet, 
 but get clearness first. It may take a month or so, but 
 stick to it, reviewing the exercises of this lesson every day 
 as you go on with your other work. 
 
 If the tones come through the teeth, open the mouth 
 ^ wide and practice on getting open tones. If the tones are 
 nasal, keep the chin well up and think of throwing the 
 tone out through the mouth. 
 
 After you have clear tones, you may start to strengthen 
 them. Keeping the same clear quality, gradually put 
 more force behind the tone until you can make a large 
 
 15 
 
i6 
 
 HOW TO GET A PLEASING VOICE 
 
 room fairly resound with it. Don't try to progress too 
 fast in getting strength, and stop if your throat tickles 
 the least bit and you are inclined to cough. Do not prac- 
 tice long at a time. Five or ten minutes twice daily will 
 be enough at first. If possible, let one of these periods of 
 practice come in the morning, for you will find your voice 
 better then. 
 
 CAUTION. Be careful in all vocal practice to secure a 
 perfectly relaxed throat. If there is constriction, try utter- 
 ing the syllable ah with a sort of sighing sound. Start the 
 exercise with the chords entirely separated and gradually 
 approximate them until vocalization results. 
 
 EXERCISES 
 
 10. Give, with the singing voice, on different pitches, the sounds of /, 
 ;;z, and , following each closely with the sounds e-I-6-a. (Diacritical 
 marks of Webster^s New International Dictionary.} Blend the conso- 
 nant and the following vowel very carefully, without any sudden tran- 
 sition, and observe the same method in linking the vowels. 
 
 1 1 . Give the following consonants with each of the following vowels 
 and diphthongs. Attack them vigorously. 
 
 b 
 
 
 d 
 
 
 f 
 
 
 g (hard) 
 
 
 i 
 
 a in ale 
 
 k 
 
 
 
 e in eve 
 
 I 
 
 
 
 i in isle 
 
 m 
 
 o in old 
 
 n 
 
 oo in ooze 
 
 P 
 
 oi in oil 
 
 r 
 
 ow in owl 
 
 s 
 
 
 t 
 
 
 w 
 
 
 2 
 
 
HOW TO GET A PLEASING VOICE 1 7 
 
 12. Give each of the following vowel sounds three times, preceding 
 it with the sound of;/. Strive for clearness at first, listening closely for 
 any unused breath, but as clearness appears, also strive for strength. 
 
 a in rate e in we i mpine 
 
 o in go oo mfood a in father 
 
 13. Give the following vocal syllables, reading across the page. 
 
 nee nay nah 
 
 nah naw no 
 
 nee noo nah 
 
 noi n igh now 
 
 PUB. SPEAK. 2 
 
LESSON IV 
 
 PRONUNCIATION OF SINGLE WORDS 
 
 ARTICULATION 
 
 EVERY student knows the feeling that comes over him 
 when he hears one of his classmates mispronounce a word. 
 The same feeling comes over an audience when a public 
 speaker mispronounces a word, and it is plain that the 
 audience can never think quite so much of a speaker as if 
 he had not made the blunder. 
 
 But absolutely incorrect pronunciation is not the only 
 thing that an audience does not like. Sometimes, although 
 the pronunciation of a word may not be altogether incorrect, 
 it is given in such an indistinct manner that the audience 
 have to listen very closely to make out what is being said-. 
 No audience will listen to this sort of pronunciation long 
 without showing disapproval by lack of attention, whisper- 
 ing, etc. 
 
 The speaker who wishes to hold the respect and attention 
 of his audience must speak both correctly and distinctly. 
 
 To speak distinctly, it is necessary to give attention to 
 what is called articulation (Latin, articular e, to join); 
 that is, the joining of the sounds that go to make up our 
 speech, or, perhaps better, the joining, or coming together, 
 of the organs of speech in uttering these sounds. Thus we 
 can clearly see that in giving the sound of the letter b there 
 is a joining of the lips ; that in the letter / or d there is a 
 joining of the tongue and teeth. This meaning need not 
 
 18 
 
PRONUNCIATION OF SINGLE WORDS 19 
 
 - be confined to consonants alone, for in the case of vowels 
 there is also a certain coming together, or arrangement, a 
 certain configuration, as it is sometimes called. Now when 
 these different arrangements of the organs are performed 
 well, in a clean-cut, energetic way, we have good articulation, 
 which in turn gives distinctness. On the other hand, if 
 the organs are not joined strongly and firmly, but are care- 
 lessly and slouchily handled, we have poor articulation, 
 which results in indistinctness. Distinctness in speaking 
 is founded upon a muscular act, the joining of the speech 
 organs, and it follows that it can be developed in the 
 same manner that an athlete develops his muscles, by fre- 
 quent and regular practice. 
 
 For the purpose of securing this practice it is well to 
 divide words into their separate sounds and syllables in 
 order that we may see clearly just what articulations take 
 place in the word. 
 
 Suppose we represent the a sound in bathing by a band 
 of sound, lasting about a second thus : 
 
 Now suppose we represent the i sound by another 
 similar band of sound a second in length, thus : 
 
 We then have the vowel sounds of the word bathing, 
 represented by the following : 
 
 It is evident that both the a sound" and the i sound are 
 open at the beginning and at the end. Suppose now 
 
20 PRONUNCIATION OF SINGLE WORDS 
 
 that we close the beginning of the a sound with the letter 
 b. We now have : 
 
 Now bring the a sound and the i sound together with 
 the th sound. We now have : 
 
 a th i 
 
 b(" )( 
 
 Adding the ng sound at the end we have : 
 
 b a th i ng 
 
 Now shorten all these elements to their proper length 
 and we have the word bathing. 
 
 NOTE. In executing this word, or any other in the same way, firm- 
 ness of contact and quickness of release should characterize all the con- 
 sonant sounds. 
 
 Write out the following words after the manner of the 
 word b at J ling, given above. 
 
 CAUTION. Of course words which begin with a vowel 
 sound should be left open at the beginning, as those which 
 close with a vowel sound should be left open at the end. 
 
 WORDS 
 
 look 
 
 supposed 
 
 nephew 
 
 hereafter 
 
 state 
 
 wishing 
 
 perpetrator 
 
 motive 
 
 murder 
 
 immediately 
 
 procurement 
 
 prisoner 
 
 suspicion 
 
 association 
 
 confirmed 
 
 principally 
 
 benefited 
 
 excusable 
 
 terminated 
 
 everything 
 
PRONUNCIATION OF SINGLE WORDS 
 
 21 
 
 EXERCISES 
 
 14. Extend the right arm horizontally in front, letting the hand 
 hang perfectly limp and lifeless. Shake it vigorously up and down, 
 striking down on the counts and recovering 
 
 on the and^s, to a count of and i, and 2, and 
 3, etc., up to and 8. Execute the same move- 
 ment, first striking sidewise, and afterwards 
 striking downward with the edge of the hand. 
 Repeat with left hand and arm, and with both 
 the left and right together. (See Fig. 8.) 
 
 15. Holding both hands in front of you, 
 palms up, take hold of the right hand with 
 the left, letting the thumb rest in the palm. 
 Allow the fingers to fall in toward you. Now 
 unroll them, letting the forefinger lead, to a 
 count of i, and 2,. and ^, etc., striking out on 
 the counts and recovering on the and^s. 
 Count up to and 8. Repeat with the left 
 hand and then with both. Do not move the 
 
 wrist. Don't spread the fingers, or plaster them together. (See Figs. 
 9 and 10.) 
 
 16. In this exercise, first name the letter, next give its sound in the 
 
 First position in 
 Ex. 14. 
 
 FIG. 9. First position in 
 Ex. 15. 
 
 FlG. 10. Position at end of 
 stroke in Ex. 15. 
 
 following word, then give the word itself. Remember to get firm con- 
 tact and quick release. 
 
22 PRONUNCIATION OF SINGLE WORDS 
 
 d in did 
 
 t in tot 
 
 th in ////';/ 
 
 2/1 in azure 
 
 sh in shun 
 
 ^ in cease 
 
 j in judge 
 
 ch in church 
 
 I in ///// 
 
 r in roar 
 
 
 
 th in *//*;* 
 2* in zone 
 n in ;/;/ 
 
 17. Use the following words and sounds the same as in Ex. 16. 
 b in bob p in pipe /# in ;/z;/z w in w0<<? 
 v in vivid f \nfife c in cake g in # 
 _y in ye ng in j/^ 
 
 1 8. The following list of words, taken from Southwick's Elocution 
 and Action, " contains nearly all the difficult combinations of consonant 
 sounds you are likely to meet in your reading." Practice them slowly 
 at first, and then increase your speed up to the normal rate. 
 
 Acts, facts, lists, ghosts, depths, droop^t, adopts, fifths, laughst, 
 hookst, desks, safst, help^st, twelfths, thefts, milk'st, halt'st, limp'st, at- 
 temptst, wanfst, think'st, warpst, dwarfst, hurtst, sixths, eighths, texts, 
 protects, stifl'st, sparkl'st, waken'st, robb'st, amidst, width, digg'st, 
 rav'st, writh'st, prob'dst, hundredths, begg'dst, besieg'dst, catch 'dst, 
 troubl'st, trifl'st, shov'lst, kindPst, struggl'st, puzzPst, shield'st, revolv'st, 
 helpMst, trembFdst, trif'ldst, shov'dst, involv'dst, twinkl'dst, fondl'dst, 
 dazzl'dst, rattl'dst, send'st, wak'n'dst, madd'n'dst, lighten'dst, ripen'dst, 
 hearken'dst, doom'dst, o^rwhelm'dst, absorb\st, regard'st, curb'dst, 
 hurPdst, charm'dst, return'dst, starv'dst, strength 1 fist, strengthVd, 
 wrong' dst, lengthen'dst, sooth'dst, act'st, lift'st, melt'st, hurt'st, wanfst, 
 shoufst, touchM, parch'd, help'dst, barkMst, prompt'st, touch'dst, rattPst. 
 
 19. Practice the following sounds vigorously : ee-oo-ah, ah-oo-ee, ah- 
 ee-oo, oo-ee-ah, oo-ah-ee, ee-ah-oo. Repeat each four or five times be- 
 fore going to the next. 
 
 20. Practice the following as in Ex. 19. Ip-it-ik, it-ip-ik, ik-ip-it, 
 ip-ik-it, ik-it-ip, it-ik-ip. 
 
LESSON V 
 
 PRONUNCIATION OF SINGLE WORDS Continued 
 
 THE USE OF THE DICTIONARY 
 
 IF a person comes to a word he does not know how to 
 pronounce, he is told to look it up in the dictionary. This 
 is very simple, but many a high school student does not 
 know how to pronounce the word after he has found it in 
 the dictionary. A few directions, however, will remove 
 the difficulty. 
 
 First. Observe that, generally, in the dictionaries, the 
 words are respelled right after they are given. 
 
 Second. Observe also that in the words thus respelled, 
 some letters have certain marks above, below, or through 
 them, and some letters are unmarked. 
 
 Third. If you do not know how a certain letter with a 
 certain mark should be pronounced, first look at the bot- 
 tom of the page, where you will probably find it in a com- 
 mon word that you do know how to pronounce. Transfer 
 this sound to the word in question. 
 
 Fourth. If a letter is not marked, the only safe way is 
 to refer to the " Key to Pronunciation " in the front of the 
 dictionary. There you will find every letter, marked or 
 unmarked, used in the respelling, together with its proper 
 sound. 
 
 Fifth. When using dictionaries which do not have 
 words at the bottom of the page, unless you are familiar 
 with the system of marks used, the only safe way is to 
 refer to the Key in the front of the dictionary at once. 
 
 23 
 
24 PRONUNCIATION OF SINGLE WORDS 
 
 Sixth. Where the words are not respelled, do as 
 above ; that is, look for the pronunciation of marked letters 
 at the bottom of the page first, and, failing to find them 
 there, look in the Key in the front of the dictionary. For 
 all unmarked letters look in the Key at once. 
 
 NOTE. The best way is to take some one dictionary as your 
 authority and thoroughly learn the system used for indicating pronun- 
 ciation. 
 
 But after the correct sound of all the letters in a word 
 has been determined, there is still an important thing left. 
 This is accent, or the special prominence given to certain syl- 
 lables in a zuord. 
 
 In a word of two syllables there is only one accent, as 
 a-back'. This is called the primary accent. 
 
 In words of more than two syllables there is often more 
 than one accent, as ac"ci-dent/al. In these cases the 
 stronger accent is the primary, while the lighter is called 
 the secondary accent. 
 
 In very long words there may be a third accent, weaker 
 than either of the others, and called the tertiary accent, as 
 tran'"-sub-stan"-ti-a'-tion. 
 
 NOTE. The marks used to denote the different accents are usually 
 those given above, but sometimes the same mark (') is used for all, with 
 the exception that it is made lighter for each accent that is needed 
 beyond the primary. 
 
 WRITTEN EXERCISE 
 
 With the above directions, let the pupil mark the fol- 
 lowing words, dividing them into syllables and placing the 
 proper accents. Also let him be able to pronounce them 
 in class without his paper. 
 
 CAUTION. Remember that, according to any dictionary, 
 if only one set of marks is given for a word, it can be pro- 
 nounced in only one way. So, in the following list, if any 
 
PRONUNCIATION OF SINGLE WORDS 
 
 word marked by the pupil can be pronounced in two ways 
 by the teacher, when only one set of marks is used, the 
 word should be counted wrong. 
 
 abdomen aid-de-camp almond 
 
 archipelago aunt 
 
 acclimate ally 
 
 bade bayou 
 
 bomb booth 
 
 casualty cerebral 
 
 comparable daunt 
 
 amenable association auxiliary 
 
 bronchitis been bellows 
 
 brooch buffet canine 
 
 chastisement chirography combatants 
 
 decade disarm discourse 
 
 EXERCISES 
 
 21. Holding both hands in front of you, palms up, take hold of the 
 right wrist with the thumb and first three fingers of the left hand, the 
 thumb being on the inside of the wrist. Let the whole hand fall in 
 
 FIG. ii. First position in 
 Ex. 21. 
 
 FIG. 12. Position at end 
 of stroke in Ex. 21. 
 
 toward you. Now unroll the hand slowly to a count of I, 2, 3. Repeat 
 eight times. Do the same with the left hand and with each alternately. 
 
 22. Facing a little to the right with the counterpart of the position 
 shown in Figure i, place the hands in the position shown in Figure 13, 
 and carrying them clear out, imagine that you are welcoming some one. 
 Bring back the hands and repeat eight times. Do the same, facing a 
 little to the left. 
 
 NOTE. In going through this exercise, consult Figures 14 and 15, 
 for common faults. Also examine Figure 16, which shows a better exe- 
 cution of the exercise. 
 
FIG. 13. Position of the hands at FIG. 15. " Reaching " in Ex. 22, show- 
 the beginning of Ex. 22. ing also the faults of straight wrists 
 
 and doubled-up fingers. 
 
 FIG. 14. Straight hands and elbows FIG. 16. A better execution of Ex. 22. 
 in Ex. 22. 
 
 (26) 
 
LESSON VI 
 PRONUNCIATION IN SENTENCES 
 
 WHAT has been said in the last two lessons in regard 
 to pronunciation might be enough if we talked by single 
 words. In our everyday use of language, however, we 
 talk by sentences, and this requires us to give attention to 
 some things that we might not need to think about if we 
 used only single words. 
 
 First. In certain abrupt sounds, like k, p, t, etc., there 
 is a faint sound heard at the end of the letter, really a 
 little puff of breath. This is called the vocule. In read- 
 ing or speaking sentences, do not sound this vocule too 
 distinctly. Do not say, Hekept-tu his hat-tu iipon a hook-kit. 
 
 Second. It of tens happens that in reading or speaking 
 one word ends with the same sound with which the next 
 word begins, as 
 
 The student took his book and went to the board. 
 
 In cases of this kind, pronounce the sentence just as if 
 there were only one letter in place of the two. To pro- 
 nounce them both leads people to think you are over nice. 
 Third. In English there are certain letters which have 
 the same position of the mouth, but different sounds, as 
 b and /. When two of these come together, use only one 
 position of the mouth. In the sentence, 
 
 He dicPno harm, 
 
 one position between did and no is all that is necessary. 
 If two positions are used, it sounds as if one were trying 
 to attract attention to himself. 
 
 27 
 
28 PRONUNCIATION IN SENTENCES 
 
 Under this topic it may be well for the student to con- 
 sider carefully the following paragraph, taken from the 
 preface of the New International Dictionary. 
 
 STYLES OF SPEAKING SUITED TO VARIOUS OCCASIONS 
 
 " The fact that there are several styles of speaking, any 
 one of which may properly be adopted according to cir- 
 cumstances, further complicates the task of producing a 
 pronouncing dictionary. Professional speakers, actors, 
 clergymen, orators, in effort to impart great clearness 
 and carrying power to their words, cultivate a style of enun- 
 ciation that would be considered artificial, pedantic, or af- 
 fected, if used in ordinary conversation. Dr. Johnson long 
 ago recognized a double standard, for he says in the gram- 
 mar prefixed to his dictionary, 'They (the writers of English 
 grammar) seem not sufficiently to have considered, that of 
 English, as of all living tongues, there is a double pronun- 
 ciation, one cursory and colloquial, the other regular and 
 solemn.' There are, in reality, several varieties of speaking 
 style, the differences in which are largely dependent upon 
 the rate of utterance. The most formal speech is that 
 used in public oratory, in the acting of certain parts upon 
 the stage, or upon the most solemn occasions. Training 
 in this style, in which weight is given to nearly every syl- 
 lable, belongs to the teaching of oratory or elocution. For 
 ordinary public speaking, reading aloud, and careful con- 
 versation, a style may be employed which makes the un- 
 accented syllables lighter, allowing the vowels contained in 
 them to turn more often toward the neutral vowel sound, 
 e in ev'er, or, as in the case of unaccented e in added, 
 toward the sound of t in pin. Whatever standard is taken 
 as a model, it should be remembered that the ordinary 
 speech of cultured people is not slovenly, if colloquial 
 weakening is not carried too far. The difference between 
 

 PRONUNCIATION IN SENTENCES 29 
 
 the pronunciation of a word when taken alone and as it 
 occurs in a sentence should also be carefully kept in mind ; 
 thus and considered alone is and, but in such a combina- 
 tion as bread and butter, it is ordinarily weakened to 'nd, 
 or even to 'n ; a in the phrase for a day becomes a (so'fa\ 
 etc." 
 
 Fourth. The accent of words in sentences is not always 
 the same as when they are considered alone. 
 
 The accent is often changed to show contrast, as, 
 
 Man is mortal, God is ////'mortal. 
 
 Immortal, of course, is generally pronounced im mort' al. 
 Other examples : 
 
 We have sins of com 1 mission and sins of Emission. 
 
 .Expression depends upon ////'pression. 
 
 One was an ^'fensive policy, the other defensive. 
 
 CAUTION. Sometimes a verb and an adjective are spelled 
 the same way. Be careful to pronounce each correctly. They 
 are not the same word, and each should have its own pro- 
 nunciation. Example: adjective, per' feet; verb, perfect 1 . 
 This also occurs with nouns and verbs. Example: noun, 
 contrast; verb, contrast' . Likewise with nouns and adjec- 
 tives. Example : adjective, compact'; noun, cowl pact. 
 
 WRITTEN EXERCISE 
 
 Properly mark, accent, and divide into syllables, the fol 
 lowing words : 
 
 disputable ennui exhibit finale 
 
 divan enervate exile financier 
 
 dolorous 
 
 envelope 
 
 exquisite 
 
 finance 
 
 drama 
 
 equipage 
 
 falcon 
 
 forehead 
 
 emendation 
 
 exemplary 
 
 February 
 
 fortnight 
 
 glamour 
 
 gladiolus 
 
 gondola 
 
 granary 
 
 gratis 
 
 handsome 
 
 hearth 
 
 hiccough 
 
 hospitable 
 
 hovel 
 
 
 
30 PRONUNCIATION IN SENTENCES 
 
 EXERCISES 
 
 23. With both hands in front of you, place the fingers of the left hand 
 to the palm of the right, the forearm and the fingers being in a horizon- 
 
 FIG. 17. First position in 
 Ex. 23. 
 
 FIG. 18. Second position 
 in Ex. 23. 
 
 tal line and forming a right angle with the right forearm and hand. 
 See Figure 17. Now, without bending the fingers, carry the hand to 
 the position shown in Figure 18. From this position lowqr the hand 
 
 FlG. 19. Third position in 
 Ex. 23. 
 
 FlG. 20. Positions of the 
 hands in Ex. 24. 
 
 until it stands as in Figure 19. Repeat this movement eight times. 
 Do the same with the other hand. 
 
PRONUNCIATION IN SENTENCES 31 
 
 24. Extend the right arm horizontally in front of you, placing it even 
 with the shoulder of the student who is in front of you, those in the 
 front row using some imaginary line on the wall as a guide. Have the 
 elbow bent out a trifle to the side. Be careful to keep the body straight, 
 do not let the arm that is extended pull the body forward. Now 
 raise the wrist, still keeping your finger tips even with your guide in 
 front. Now lower it. See Figure 20. Repeat eight times. Do the 
 same with the left hand and with both hands. 
 
 CAUTION. Be careful not to keep the forearm still and 
 move the hand up and down. 
 
 NOTE. Although only a few exercises are given in each lesson, it is 
 absolutely imperative that those already given should, as far as possible, 
 be reviewed each day. 
 

 LESSON VII 
 EMPHASIS 
 
 EMPHASIS is the special prominence given to one or 
 more words in a sentence. Just as in the word pro nun 1 
 cia'tion we give more prominence to the syllables nun and 
 a, so in the sentence, / went to Boston, we give prominence 
 to the words went and Boston. Emphasis is the same 
 thing in a sentence that accent is in a word. 
 
 There are different degrees of emphasis, just as there are 
 different degrees of accent, but because there are so many 
 more degrees, just as there are many more words in a 
 sentence than syllables in a word, the different degrees 
 are hardly ever named. Generally we simply say that this 
 or that word has the greatest emphasis, or the weakest 
 emphasis, or stronger emphasis, or weaker emphasis. 
 
 EMPHASIS IN SENTENCES OF ONE IDEA 
 
 In every sentence there are words that embody the idea 
 of the author, that show forth his meaning, more than the 
 others. Some are exceedingly important, others are less 
 essential, and finally, some merely show the relation be- 
 tween the others, or connect them. Naturally the public 
 speaker wishes to make the important words especially 
 clear, he wishes to show them forth; that is, emphasize 
 them, for in reality our word emphasize is from the 
 Greek word meaning to show forth, or indicate. 
 
 THE FIRST LAW OF EMPHASIS. Words in a sentence 
 should be emphasized in proportion as they are essential 
 to the meaning. Examples : 
 
 32 
 

 EMPHASIS 33 
 
 College students are MEN OF PRIVILEGE. 
 
 They intend to exercise a PURIFYING INFLUENCE in the world. 
 
 Men of thought should OPPOSE bad influences. 
 
 GEORGE WILLIAM CURTIS. 
 
 In the following sentences underscore the words that are 
 most important to the meaning : 
 
 The South is enamored of her work. Her soul is stirred with the 
 breath of a new life. The light of a grander day is falling on her face. 
 She is thrilling with the consciousness -of a growing power. 
 
 HENRY W. GRADY. 
 
 EMPHASIS IN PARAGRAPHS, OR IN SENTENCES OF MORE 
 THAN ONE IDEA 
 
 If all sentences had only one idea, and always occurred 
 alone, the only law of emphasis needed would be the one 
 just given. More often, however, sentences have more than 
 one idea in them, and they generally do not stand alone, 
 but are grouped in paragraphs. Thus, just as accent often 
 changes when words are brought into sentences, so em- 
 phasis changes when more than one idea is expressed in a 
 sentence, or when sentences are brought into paragraphs. 
 
 SECOND LAW OF EMPHASIS. When a sentence contains 
 more than one idea, or when sentences of one idea occur in 
 groups, the words which bring out the new ideas as they 
 come along should be emphasized. Examples : 
 
 Let us proclaim it firmly, proclaim it even in. fall and in defeat, this 
 age is \\\z grandest of #//ages ; and do you know wherefore? Because 
 it is the most benignant. This age enfranchises the slave in America* 
 extinguishes in Europe the last brands of the stake, civilizes Turkey, 
 penetrates the Koran with the Gospel, dignifies woman, and subordi- 
 nates the right of the strongest to the right of the most just. 
 
 VICTOR HUGO. 
 
 With how much pride, with what a thrill, with what tender and loyal 
 reverence, may we not cherish the spot where this marvelous enterprise 
 
 TUB. SPEAK. 3 
 
34 EMPHASIS 
 
 began, the roof under which the first councils were held^ where the air 
 still trembles and burns with Otis and Sam Adams. Except the Holy 
 City, is there any more memorable or sacred place on \.\\eface of the 
 earth than the cradle of j^ a change? ATHENS has her ACROPOLIS, 
 but the Greek can point to no such results. LONDON has her PALACE, 
 and her TOWER, and her ST. STEPHEN'S CHAPEL, but the human race 
 owes her no such memories. FRANCE has SPOTS marked by the SUB- 
 LIMEST DEVOTION, but the Mecca of the man who believes and hopes for 
 the human race is not to Paris ; it is to the SEABOARD CITIES of the 
 GREAT REPUBLIC. WENDELL PHILLIPS. 
 
 NOTE. In the above example, starting with the word Athens, the 
 new ideas are in small capitals, and the ideas already brought out are in 
 italics. To be sure, the emphasis here given may be called emphasis 
 of contrast (taken up in the -next lesson), but it also shows the stronger 
 emphasis which new ideas take and the weaker emphasis which is given 
 to ideas already brought out. 
 
 WRITTEN EXERCISE 
 
 In the following selections, underscore the new ideas 
 twice, and the ideas already brought out, once. 
 
 Nothing is so natural as trade with one's neighbors ; the Philippines 
 make us the nearest neighbors of all the East. Nothing is more natural 
 than to trade with those you know. The Philippines bring us perma- 
 nently face to face with the most-sought-for customers of the world. 
 
 ALBERT J. BEVERIDGE. 
 
 I do not believe that this nation was raised up for nothing. I have 
 faith that it has a great mission in the world, a mission of good, 
 a mission of freedom. I believe that it can live up to that mission; 
 therefore I want to see it step forward boldly and take its place at the 
 head of the nations. HENRY CABOT LODGE. 
 
 WORDS 
 
 Mark and be able to pronounce these words as those in 
 preceding lessons. 
 
 ignoramus illusive indisputable industry 
 
 interpolate iodine irrefutable jocund 
 
 inquiry jugular juvenile lamentable 
 
EMPHASIS 
 
 35 
 
 laundry 
 
 maritime 
 
 mistletoe 
 
 nicotine 
 
 pageant 
 
 lichen 
 
 loth 
 
 mausoleum 
 
 mercantile 
 
 museum 
 
 national 
 
 obligatory 
 paraffin 
 
 oblique 
 
 EXERCISES 
 
 lyceum 
 mirage 
 nausea 
 often 
 
 25. Breathing exercise. With the hands upon the waist, place the 
 lips in the position for the letter/". Take breath in vigorous jerks, feel- 
 ing the sides expand at each jerk. 
 
 26. Starting the right hand from the side, carry it forward until the 
 arm is horizontal, letting the hand hang lifelessly. Do not stop when 
 
 FIG. 21. Raising the hand 
 in Ex. 26. 
 
 FIG. 22. Lowering the 
 hand in Ex. 26. 
 
 the arm is horizontal, but carry it up till it is vertical, or nearly so. The 
 wrist should lead all the way up. Now bring the hand down, the wrist 
 again leading. (See Figs. 21 and 22.) Repeat eight times. Do the 
 same with the left hand and with both hands. 
 
 CAUTION. When you get the hand clear up, lower the 
 wrist to start down. Do not throw the hand up. Keep the 
 finger tips stationary while you lower the wrist. Raise the 
 wrist at the bottom in the same manner. 
 
LESSON VIII 
 EMPHASIS Continued 
 
 SOMETIMES one idea is contrasted or compared with 
 another, either in the same sentence, or in sentences close 
 together, or even in sentences quite far apart. 
 
 THIRD LAW OF EMPHASIS. When one idea is contrasted 
 or compared with another, the words which bring out the 
 contrasted ideas should be emphasized. 
 
 This law covers several cases : 
 
 First. Contrast where each side of the contrast has one 
 idea. Examples : 
 
 NOTE. The first three of these examples also show contrast in the 
 same sentence, the fourth contrast in sentences close together, and the 
 fifth contrast in sentences far apart. 
 
 I know of no way of judging \hzfuture, but by the fast. 
 
 PATRICK HENRY. 
 
 Men should be what they seem. SHAKESPEARE. 
 She was a Prince's child, 
 / but a Viking wild. LONGFELLOW. 
 
 There is no geography in American manhood. There are no sections 
 in American fraternity. The South claims Lincoln, the immortal, for 
 its own. The North has no right to reject Stonewall Jackson, the one 
 typical Puritan soldier of the war, for its own. Nor 'will it ! 
 
 Turning to the Cyclopes did of American Biography, I find that Web- 
 ster had all the vices that are supposed to have signalized the Cavalier, 
 and Calhoun all the virtues that are claimed for the Puritan. During 
 twenty years three statesmen of Puritan origin were chosen party lead- 
 ers of Cavalier Mississippi: Robert J. Walker, born and reared in 
 Pennsylvania; John A: Quitman, born and reared in New York; and 
 Sargent S. Prentiss, born and reared in the good old state of Maine. 
 
 36 
 
EMPHASIS 37 
 
 That sturdy Puritan, John Slidell, never saw Louisiana until he was old 
 enough to vote and to fight: native here, an alumnus of Columbia 
 College, but sprung from New England ancestors. Albert Sidney 
 Johnston, the most resplendent of modern Cavaliers, from tip to toe 
 a type of the species, the very rose and expectancy of the young Con- 
 federacy, did not have a drop of Southern blood in his veins; 
 Yankee on both sides of the house, though born in Kentucky a little 
 after his father and mother arrived there from Connecticut. The am- 
 bassador who serves our government near the French Republic was a 
 gallant Confederate soldier and is a representative Southern statesman ; 
 but he owns the estate in Massachusetts where his father was born, and 
 where his father's fathers lived through many generations. 
 
 And the Cavaliers, who missed their stirrups, somehow, and got 
 into Yankee saddles ? The woods were full of them. If Custer was 
 not a Cavalier, Rupert was a Puritan. And Sherwood, and Wadsworth, 
 and Kearny, and McPherson, and their dishing companions and fol- 
 lowers ! The one typical Puritan soldier of the war, mark you, > 
 was a Southern, and not a Northern, soldier : Stonewall Jackson, of 
 the Virginia line. And, if we should care to pursue the subject further 
 back, what about Ethan Allen and John Stark and Mad Anthony 
 Wayne, Cavaliers each and every one ! Indeed, from Israel Putnam to 
 Buffalo Bill, it seems to me the Puritans have had rather the best of it 
 in turning out Cavaliers. So the least said about the Puritan and the 
 Cavalier, except as blessed memories or horrid examples, the bet- 
 ter for historic accuracy. HENRY WATTERSON. 
 
 Second. Contrast where eacJi side of the contrast has 
 two ideas. 
 
 My fruit is better than gold, yea, than fine gold ; and my revenue 
 than choice silver. Proverbs viii. 19. 
 
 Better is a dry morsel and quietness therewith, than a house full of 
 sacrifices with strife. Proverbs xvii. i. 
 
 Third. Contrast where each side of the contrast has 
 three ideas. 
 
 The darkness of night shall not cover thy treason, the walls of 
 privacy shall not stifle its voice. CICERO, against Catiline. 
 
 Thou shalt soon be made aware that / am even more active in 
 providing for the preservation of the state, than thou in plotting its 
 destruction. CICERO, against Catiline. 
 
recess 
 
 respite 
 
 sergeant 
 
 squalor 
 
 traverse 
 
 EMPHASIS 
 
 WORDS 
 
 refutable 
 
 reparable 
 
 research 
 
 resource 
 
 romance 
 
 reveille 
 
 sacerdotal 
 
 seraglio 
 
 sirup 
 
 slake 
 
 solace 
 
 squalid 
 
 taunt 
 
 tirade 
 
 toward 
 
 transition 
 
 pronunciation 
 
 zoology 
 
 partner 
 
 patronage 
 
 precedence 
 
 prelate 
 
 vaccine 
 
 visor 
 
 EXERCISES 
 
 27. Starting with the right hand at the side, carry it up and down 
 at the side in the same way that you carried it up and down in front 
 
 FlG. 23. Raising the hands 
 in Ex. 28. 
 
 FlG. 24. Lowering the 
 hands in Ex. 28. 
 
 in Ex. 26. Do the same with the left hand and with both hands. 
 Observe the caution on Ex. 26. 
 
 28. In this exercise go through the same motion with the hands 
 that you do in Ex. 27, except carry the arm diagonally in front, as 
 shown in Figures 23 and 24. Do the exercise with the right hand and 
 then with the left. Then with both hands. 
 
LESSON IX 
 EMPHASIS Continued 
 
 IN any of the cases of contrast, one side of the contrast 
 may be implied, that is, it may be taken for granted 
 without being expressed. 
 
 Contrast with one idea : 
 
 This is a free country. (Implying that there are other countries 
 which are not free.) 
 
 Contrast with two ideas : 
 
 To-day the Union stands not defended by armed force or frowning 
 fortresses. (Implying that in the past the Union has been defended by 
 armed force, etc.) 
 
 Contrast with three ideas : 
 
 Rest in peace, great Columbus of the heavens, like him, scorned, 
 persecuted, broken-hearted ! in other ages, in distant hemispheres, 
 when the votaries of science, with solemn acts of consecration, shall 
 dedicate their stately edifices to the cause of knowledge and truth, thy 
 name shall be mentioned with honor. 
 
 EDWARD 'EVERETT, on Galileo. 
 
 (Implying that in that age, and that hemisphere, the votaries of 
 religion did not honor his name.) 
 
 In addition to the cases of emphasis already mentioned, 
 
 there is still another. Oftentimes a speaker utters a series 
 
 of ideas, or he may repeat the same idea several times, 
 
 - getting more and more earnest toward the end. This 
 
 is called climax. 
 
 FOURTH LAW OF EMPHASIS. When a speaker utters 
 a series of ideas, or when he repeats the same idea several 
 
 39 
 
40 EMPHASIS 
 
 times, and there is an increasing earnestness toward the 
 end, the important words of each succeeding increase 
 in earnestness should have a corresponding increase of 
 emphasis. Examples : 
 
 Let Heaven and MEN and DEVILS, let them ALL, 
 ALL, ALL, cry shame against me, yet I'll speak. 
 
 SHAKESPEARE. 
 I came, I SAW, I CONQUERED. CESAR. 
 
 You think me a fanatic, for you read history not with your eyes, but 
 with your prejudices. But fifty years hence, when Truth gets a hearing, 
 the Muse of history will put Phocion for the Greek, Brutus for the 
 Roman, Hampden for England, I^ayette for France, choose WASHING- 
 TON as the bright consummate flower of OUR earlier civilization, then, 
 dipping her pen in the sunlight, will write in the clear blue, ABOVE 
 THEM ALL, the name of the SOLDIER, the STATESMAN, the 
 MARTYR, TOUSSAINT L'OUVERTURE. 
 
 WENDELL PHILLIPS. 
 
 NOTE. In this last example the closing words need not be given 
 louder than the others. Emphasis may consist in lowering the voice. 
 We simply need to give them more prominence in SOME way. 
 
 EXERCISES 
 
 29. Execute the general movement suggested in Ex. 26 horizontally 
 in front on a level with the waist line, using eight counts. 
 
 30. Execute the movement of Ex. 29 on a level with the shoulders 
 and above the head. 
 
(LESSON X 
 FIRST STEPS IN ACTUAL DELIVERY 
 AT this point -in our study of Public Speaking, it may 
 e well to stop for a few general suggestions in regard to 
 actual speaking. From the written criticism of some 
 fifteen hundred pupils a year, the following faults have 
 been observed as the most common. Not all students 
 will have all these faults, but hardly any student fails to 
 have some of them. 
 
 Go slow. The greatest fault of young speakers is 
 that they go too fast. The words are so jumbled together 
 and sent after one another so rapidly that nobody can pos- 
 sibly understand. Many students speak over two hundred 
 words a minute. This speed should be cut nearly in two. 
 From a hundred to a hundred and fifty words is enough 
 for a minute. Take a watch in your hand, and after 
 selecting some extract from a speech which has about a 
 hundred and twenty-five words, time yourself. Do not 
 be satisfied until you can occupy a full minute in giving 
 the selection. 
 
 NOTE. The rate of utterance, of course, as will be pointed out 
 later, depends upon the size of the room. 
 
 In practicing slow speaking, rather lengthen the pauses 
 than the words themselves. Be careful not to get a 
 choppy style in doing this, but avoid the other extreme 
 of drawling your words. 
 
 Speak louder. Nearly every student when asked to 
 speak louder, answers, " Why, I'm yelling already." This 
 
 41 
 
42 FIRST STEPS IN ACTUAL DELIVERY 
 
 may actually seem so to the student, for he has been 
 accustomed all his life to speaking with people only a 
 few feet away. To speak to people over a hundred feet 
 away is quite a different thing. A little bit of yelling must 
 enter into the style, perhaps calling would be a better 
 term. The only thing to remember is that, although you 
 seemingly yell, you must talk just as you would to a per- 
 son near you. A speech to a thousand people is simply a 
 conversation with one person greatly magnified. Get some 
 one to stand at the back of a large room, and tell him 
 to stop you every time he fails to understand a single 
 word. Don't tell him what you are going to speak about, 
 but see if he can make out what you say. 
 
 Keep your eyes on the audience. Very often a young 
 speaker will look at the floor, or the ceiling, or will look 
 out of the window. Don't do this. Look at tJie people. 
 At first this will be hard to do, for it will make you forget 
 what you want to say, but it must be done, if you are to 
 succeed. Learn your production so well that you can 
 look straight at your audience, and yet, back in your head, 
 think what comes next. Even during your pauses, keep 
 your eyes on your audience. 
 
 Keep a good position. When a speaker gets interested 
 in making a speech, he is apt to forget all about his 
 position. This is as it should be, provided, by constant 
 practice, the speaker, by second nature, takes a correct 
 position. But for a very long time one must constantly 
 think of his position. Practice daily before a mirror. Get 
 so familiar with your position and your changes that you 
 cannot possibly get them wrong. Get so you do not feel 
 at home in any other position than the correct one. 
 Avoid, especially, allowing the weight to rest wholly on 
 the back foot, with the front knee bent. 
 
LESSON XI 
 PAUSING 
 
 WE all know how hard it is to follow some one who reads 
 or speaks without making any pauses whatever. This shows 
 how important the matter of pause really is, and how great 
 an advantage it is to a speaker to be skillful in choosing 
 his places for pausing. 
 
 All pause depends primarily upon thinking. An image, 
 or idea, in the mind, is like a picture thrown upon the screen 
 by a stereopticon, or magic lantern, and the whole stream 
 of ideas or mental images that passes through the brain 
 may be likened to a series of dissolving views each idea 
 having its moment of greatest vividness or brilliancy, and then 
 gradually fading away to give place to a new idea, which 
 in turn likewise becomes vivid and then fades. And it 
 will readily be seen that just as much confusion will be 
 caused by attempting to have two ideas in the mind at once 
 as would be caused by attempting to have two pictures on 
 the screen at the same time. The mind can comprehend 
 only one idea at a time. 
 
 This shows clearly the reason for our pauses. We aim 
 to separate our images, or ideas, and in order to do so we 
 must allow a little time for one image, or idea, to get out 
 of the way before another is called up. The speaker who 
 runs two ideas together without any pause between them 
 is like the operator who throws two pictures on the screen 
 at once and the result is the same ; namely, utter con- 
 fusion to the audience. 
 
 43 
 
44 PAUSING 
 
 CAUTION. In all reading or speaking it is important to 
 keep the lungs nearly full of air. Breath should be taken 
 at the logical pauses, and pauses should never be inserted 
 merely for breath. 
 
 From what has now been said, the following general 
 law for pauses may easily be formed : 
 
 GENERAL LAW FOR PAUSES. The words conveying 
 each idea should be grouped together, and the different 
 groups separated from each other by pauses. 
 
 To illustrate : In the sentence, " The bridge being 
 burned, the train left the track and plunged into the 
 river," there are three distinct ideas, which are easily 
 recognized by the following grouping: 
 
 The bridge being burned, the train left the track and plunged into 
 
 the river. 
 
 CAUTION. Do not confuse grammatical and logical 
 pauses. A large amount of the punctuation on the printed 
 page is merely to show grammatical construction and has 
 nothing to do with the pauses made to show the meaning. 
 
 CASE I. Do not pause after an introductory and, for 
 but, if, etc., when followed by a comma. Example : 
 
 For, if this were true, he would know it now. 
 
 If, having been rebuked, he still erred, he should be condemned. 
 
 CASE II. Do not pause after an introductory that, 
 when introducing a subordinate clause and followed by 
 a comma. Example: 
 
 Charles told him that, however cheap it was, the other was a better 
 bargain. 
 
PAUSING 45 
 
 Before attempting to locate his pauses, or to execute 
 them aloud, the student will do well to read carefully the 
 following very applicable quotation : 
 
 "The intelligent use of pausing contributes very materi- 
 ally to artistic and effective speech. It discloses a speak- 
 er's method of thinking, and its possibilities are almost as 
 varied as thought itself. Rapid utterance, unless em- 
 ployed specifically to portray hasty action, is usually a sign 
 of shallowness. The speaker fails to weigh or measure his 
 thought, and skims over its surface in undue anxiety to ex- 
 press what is in his mind. The school boy "speaking his 
 piece " on Friday afternoon furnishes a good illustration of 
 meaningless declamation. He rushes through his lines 
 with breathless haste, oftentimes gabbling the last few 
 words while resuming his seat. 
 
 " Correct pausing is the result of clear thinking. In 
 the discussion or expression of the weighty and important 
 truths of a regular discourse, a trained speaker will gen- 
 erally use a slower movement and appropriately longer 
 pauses." - KLEISER, How to Speak in Public. 
 
 Example of correct pausing : 
 
 True eloquence, indeed, does not consist in speech. It cannot be 
 
 brought from far. 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 
 occasion. Affected passion, intense expression, the pomp of declamation, 
 all may aspire after it ; they cannot reach 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. 
 
 WEBSTER. 
 
4 6 
 
 PAUSING 
 
 SELECTION FOR MARKING PAUSES 
 
 Let us pause ! This step, once taken, cannot be retraced. This reso- 
 lution, once passed, will cut off all hope of reconciliation. If success 
 attend the arms of Engfand, we shall then be no longer colonies, with 
 charters and with privileges : these will all be forfeited by this act ; and 
 we shall be in the condition of other conquered peoples, at the mercy of 
 the conquerors. For ourselves/ we may be ready to run the hazard ; but 
 are we ready to carry the country to that length? Is success so prob- 
 able as to justify it? Where is the military, where the naval, power by 
 which we are to resist the whole strength of the arm of England ? 
 
 EXERCISES 
 
 31. Position Z>. If we call the position taken in Figure I Position 
 A, we may for convenience call the position in Figure 25, Position B. 
 In this position one foot is placed about its own length in front of the 
 
 FIG. 25. A good position B. 
 
 FIG. 26. A bad position B. 
 Toe flat on the floor. 
 
 other in such a way that a line passing through it from toe to heel would 
 pass through the heel of the back foot. The weight is placed on the 
 forward foot, and the heel of the back foot is raised and allowed to 
 swing inward, the feet now being at an angle of about 90, that is, 
 forming a square corner. The left foot should rest on the side of the 
 ball, not flat on the toe as in Figure 26. 
 
PAUSING 
 
 47 
 
 32. In position B, either the right foot or the left foot may be for- 
 ward. Execute it both ways. 
 
 33. From Position B with the right foot forward, change to the 
 Position B with the left foot forward, by stepping forward with the left 
 foot. Repeat, going forward. Face about and go through the same 
 
 FIG. 27. A bad position B. 
 Feet too close and line 
 through the instep. 
 
 FIG. 28. A moderately good 
 position B, but the toe 
 pointing a little too directly 
 toward the audience. 
 
 exercise, facing the back of the room, thus getting back to the position 
 from which you started. Do not step too far. Do not allow the line 
 to pass through the instep, but keep it through the heel. (See Fig. 27.) 
 It is well, also, not to allow the forward foot to point directly toward the 
 middle of the audience, as shown in Figure 28. 
 
LESSON XII 
 PITCH 
 
 DEGREE OF PITCH 
 
 EVERYONE has noticed that, in singing, some notes are 
 higher or lower than others, but, perhaps, it has not oc- 
 curred to some that in speech also we use high notes and 
 low notes. This will be very evident, however, if the 
 student will give the two following sentences aloud : 
 
 Ring the fire bell ! Rouse the People ! 
 
 'Tis the midnight's holy hour, and silence now is brooding o'er the 
 still and pulseless world. 
 
 In the first, the voice will be high, and in the second 
 low. 
 
 This part of Public Speaking which deals with whether 
 a note is high or low is called ///^A. 
 
 For general purposes, the compass of the voice, that is, 
 the number of notes it can cover on the musical scale from 
 its lowest note to its highest, is divided into three divisions, 
 called degrees of pitch. These are high, middle, and low. 
 The upper third of the notes covered by the voice are in 
 high degree of pitch, the middle third in middle degree of 
 pitch, and the lower third in low degree of pitch. 
 
 CAUTION. It should be remembered that the exact notes 
 on the musical scale which make High Degree of Pitch or 
 Low Degree of Pitch cannot be set down. The matter is 
 relative, and what might be high pitch for one person 
 
 4 8 
 
PITCH. 49 
 
 might be middle pitch for another, etc. Each speaker has 
 a range of his own, and he should not try to imitate that of 
 any one else. If a selection is to be given in high pitch, 
 he should give it in his own high pitch. 
 
 The middle degree of pitch is by far the most common. 
 We use it to express all ordinary thoughts, where there is 
 no unusual emotion. 
 
 The high degree of pitch may be used for gayety, joy, 
 laughter, great earnestness , courage ', defiance, alarm, etc. 
 
 The low degree of pitch may be used for reverence*, sub- 
 limity, devotion, deepest solemnity, awe, veneration^, dread, 
 amazement, horror, etc. 
 
 NOTE. Of course these different degrees shade into one another 
 and some sentiments can even be given in all degrees, but the ones 
 given above will be found largely characteristic. 
 
 HIGH 
 
 Cry Holiday ! Holiday ! let us be gay, 
 
 And share in the rapture of heaven and earth ; 
 
 For, see! what a sunshiny joy they display, 
 
 To welcome the spring on the day of her birth ; 
 
 While the eleuients, gladly outpouring their voice, 
 Nature's paean proclaim, and in chorus rejoice! 
 
 KLEISER. 
 
 What men, what patriots, what independent, heroic spirits! 
 chosen by the unbiased voice of the people ; chosen, as all public 
 servants ought to be, without favor and without fear. What an august 
 assembly of sages ! Rome, in the height of her glory, fades before it. 
 There never was, in any age or nation, a body of men who, for general 
 information, for the judicious use of the results of civil and political 
 history, for eloquence and virtue, for true dignity, elevation and 
 grandeur of soul, could stand a comparison with the first American 
 Congress. See what the people will do when left to themselves ; to 
 their unbiased good sense, and to their true interests ! The ferocious 
 Gaul would have dropped his sword at the hall door, and have fled 
 thunderstruck as from an assembly of gods ! 
 PUB. SPEAK. 4 
 
50 9 PITCH 
 
 Whom do I behold ? A Hancock, a Jefferson, an Adams, a Henry, 
 a Lee, a Rutledge ! Glory to their immortal spirits ! On you depend 
 the destinies of your country, the fate of three millions of men and the 
 countless millions of their posterity ! Shall these be slaves, or will you 
 make a noble stand for liberty, against a power whose triumphs are 
 already coextensive with the earth ; whose legions trample on thrones 
 and scepters ; whose thunders bellow on every ocean ? How tremen- 
 dous the occasion ! How vast the responsibility ! 
 
 JONATHAN MAXCY, The First American Congress. 
 
 MIDDLE 
 
 One raw morning in spring it will be eighty years the iQth of this 
 month Hancock and Adams, the Moses and Aaron of the Great 
 Deliverance, were both at Lexington ; they also had " obstructed an 
 officer" with brave words. British soldiers, a thousand strong, came 
 to seize them and carry them over sea for trial, and so nip the bud of 
 Freedom auspiciously opening in that early spring. The town militia 
 came together before daylight, " for training/ 1 A great tall man, with 
 large head and a high, wide brow, their captain, one who had "seen 
 service," marshaled them into line, numbering but seventy, and 
 bade " every man load his piece with powder and ball. I will order the 
 first man shot that runs away," said he, when some faltered. " Don't 
 fire, unless fired upon, but if they want to have a war, let it begin here." 
 THEODORE PARKER, Reminiscences of Lexington. 
 
 LOW 
 
 All is peace. The heights of yonder metropolis, its towers and roofs, 
 which you then saw filled with wives and children and countrymen in 
 distress and terror, and looking with unutterable emotions for the issue 
 of the combat, have presented you to-day with the sight of its whole 
 population, come out to welcome and greet you with a universal jubilee. 
 Yonder proud ships, by a felicity of position appropriately lying at the 
 foot of this mount, and seeming fondly to cling round it, are not means 
 of annoyance to you, but your country's own means of distinction and 
 defense. 
 
 All is peace ; and God has granted you this sight of your country's 
 happiness, ere you slumber in the grave. "He has allowed you to be- 
 hold and to partake of the reward of your patriotic toils ; and he has 
 allowed us, your sons and countymen, to meet you here, and in the name 
 
PITCH 5 1 
 
 of the present generation, in the name of your country, in the name of 
 liberty, to thank you ! WEBSTER, Bunker Hill Oration. 
 
 EXERCISES 
 
 34. By singing Ex. 13, determine the compass of your voice. After 
 this is done, take the sentence, "Ring the alarm bell ! " and give it on 
 every half note from the middle of your compass to its highest note. 
 Likewise take the sentence, " 'Tis midnight's holy hour,' 1 and give it 
 from your middle note to your lowest note. Do not sing the sentences, 
 but speak them upon the keynote. 
 
 35. Taking an octave that is easily within your compass, practice 
 Ex. 13, first sliding or slurring up the octave, and then, immediately 
 after, before taking the next syllable, sliding or slurring down again. 
 Your course will then somewhat resemble the following diagram : 
 
 You may increase the slide, if you wish. First take the slides slowly ; 
 afterwards you may give them faster. 
 
LESSON XIII 
 RATE 
 
 PROBABLY nothing is more noticeable to the ordinary 
 listener than the rate at which an orator speaks. " He 
 speaks so fast," we often hear people say, or " Didn't he 
 speak slowly ! " Some people naturally speak faster than 
 others, but no matter whether a person naturally speaks 
 slowly or fast, . he should not always speak at the same 
 rate. There are times when he should speak slowly (for 
 him) and times at which he should speak faster. This is 
 governed by laws which are given below. 
 
 There are three rates : rapid, medium, and slow. 
 There are, of course, no hard and fast lines. The differ- 
 ent rates blend into one another. 
 
 Rapid rate is used for gayety, joy, excitement, alarm, 
 picturing rapid action, etc. Examples : 
 
 A hurry of hoofs in the village street, 
 A shape in the moonlight, a bulk in the dark, 
 And beneath, from the pebbles, in passing, a spark, 
 Struck out by a steed flying fearless and fleet. 
 
 LONGFELLOW. 
 
 Now you see the water foaming all around. See how fast you pass 
 that point! Up with the helm! Now turn! Pull hard! Quick! 
 quick ! quick ! Pull for your lives ! Pull till the blood starts from your 
 nostrils, and the veins stand like whipcords on your brow ! Set the 
 mast in the socket ! hoist the sail ! Ah ! ah ! it is too late! Shrieking, 
 cursing, howling, blaspheming, over they gol JOHN B. GOUGH. 
 
 Across the valley the Southern line of attack is forming, a splendid 
 column three miles long, their silken banners unfurled to the breeze, a 
 
 52 
 
RATE 53 
 
 bristling mass of bayonets glittering in the sunlight. With majestic 
 movement the veteran army advances on the Union line. Their can- 
 non cease firing. Instantly the deserted guns are manned. The whole 
 line of Federal batteries pour shot and shell into the advancing ranks 
 Awful gaps are made, but quickly closed, and the long line comes swiftly 
 on. The Union infantry have hurriedly re-formed along the summit of 
 the ridge. Up the slopes come the Southern ranks. Their lines of 
 glistening steel sweep on like waves of death and destruction. They 
 hurl back the Union advance. On they come toward the main line. A 
 flash of smoky flame, a deafening roar, and twenty thousand Union guns 
 pour forth a flood of leaden death. The Southern ranks go down under 
 that awful fire like fields of grain swept by the tornado's blast. Flesh 
 and blood cannot face such carnage. Whole companies rush into the 
 Union lines and throw down their arms. The remnant of that splendid 
 eighty thousand hurries in full retreat back across the valley, shattered 
 and broken. The Confederacy has reached its height! Slavery has 
 fallen ! Victory is with democracy ! College Oration. 
 
 Medium rate is used for conversation, and all speaking 
 where there are no unusual emotions. Example : 
 
 The people always conquer. They always must conquer. Armies 
 may be defeated, kings may be overthrown, and new dynasties imposed, 
 by foreign arms, on an ignorant and slavish race, that care not in what 
 language the covenant of their subjection runs, nor in whose name the 
 deed of their barter and sale is made out. But the people never invade ; 
 and when they rise against the invader, are never subdued. 
 
 EVERETT. 
 
 Slow rate is used to express* devotion, solemnity, rever- 
 ence, aive, veneration, dread, amazement, etc. Examples : 
 
 Sunset and evening star, 
 
 And one clear call for me ! 
 And may there be no moaning of the bar, 
 
 When I put out to sea. 
 
 But such a tide as moving seems asleep, 
 
 Too full for sound and foam, 
 When that which drew from out the boundless deep 
 
 Turns again home. TENNYSON. 
 
54 RATE 
 
 As the end drew near, his early craving for the sea returned. The 
 stately mansion of power had been to him the weary hospital of pain, 
 and he begged to be taken from its prison walls, from its oppressive 
 stifling air, from its homelessness and its hopelessness. Gently, 
 silently, the love of a great people bore the pale sufferer to the longed- 
 for healing of the sea, to live or to die, as God should will. Within 
 sight of its heaving billows, within sound of its manifold voices, with 
 wan, fevered face, tenderly lifted to the cooling breeze, he looked out 
 wistfully upon the ocean's changing wonders, on its far sails whitening 
 in the morning light, on its restless waves rolling shoreward to break 
 and die beneath the noonday sun, on the red clouds of evening arching 
 low to the horizon, on the serene and shining pathway of the stars. 
 Let us think that his dying eyes read a mystic meaning, which only the 
 rapt and parting soul may know. Let us believe that, in the silence of 
 the receding world, he heard the great wave breaking on a farther 
 shore, and felt already on his wasted brow the breath of the eternal 
 morning. JAMES G. ELAINE. 
 
 An example of the combination of rapid rate with slow 
 rate is found in the following : 
 
 There came a dark night when Columbus stood at the lookout alone. 
 Before and behind him stretched the black waters in limitless expanse. 
 The admiral's white head was bent with care. Already they had sailed 
 farther than he had ever dreamed that ship could sail, and yetjip-^ 
 land. What would J)e the end? What would come of the murmurings 
 and the black looks on every side? Did failure stare him in the face? 
 But, as he raised his head, he thought he caught a glimpse of a light 
 carried by an unseen hand on a distant shore. He shouted, " AJjght! 
 A Jight! " He woke the crew. Cries of " LandJ^Lan.d! " rang from 
 ship to ship. Not an eye was closed again thaFltigrTtT All was excite- 
 ment, and as the day dawned, land stretched before them ! Christopher 
 Columbus had reached his goal. His idea was vindicated, his dream 
 fulfilled! On the virgin soil of a new world, he knelt and gave thanks 
 to God. College Oration. 
 
LESSON XIV 
 PAUSING 
 
 IN addition to the general law for pauses, mentioned in 
 Lesson XI, it may be well for the student to note a few of 
 the specific cases that fall within that law. 
 
 CASE I. Pause to separate clauses and words in a 
 series. 
 
 This case obviously comes very directly under the gen- 
 eral law. A clause, by its very name, incloses, or contains, 
 a single thought, and should therefore be separated from 
 the clauses that are before and after it. Likewise, in a 
 series of words, each word contains a single idea, and 
 should therefore be treated in a similar manner. Example 
 of pause between clauses : 
 
 If, then, the power of speech is a gift as great as any that can be 
 named, / if the origin of language is by many philosophers even consid- 
 ered to be nothing short of divine, / if by means of words the secrets 
 of the heart are brought to light, / pain of soul is relieved, / hidden grief 
 is carried off, / sympathy conveyed, / counsel imparted, / experience 
 recorded, / and wisdom perpetuated, / if by great authors the many 
 are drawn up into unity, / national character is fixed, / a people speaks, / 
 the past and the future, the East and the West, are brought into com- 
 munication with each other, / if such men are, in a word, the spokes- 
 men and prophets of the human family, / it will not answer to make 
 light of Literature or to neglect its study ; / rather we may be sure / 
 that, in proportion as we master it in whatever language, / and imbibe 
 its spirit, / we shall ourselves become in our own measure the ministers 
 of like benefits to others, / be they many or few, / be they in the obscurer 
 or the more distinguished walks of life, / who are united to us by 
 social ties, / and are within the sphere of our personal influence. 
 
 CARDINAL NEWMAN. 
 55 
 
56 PAUSING 
 
 Examples of pause between words of a series : 
 
 The store, / the office, / the factory, / the farm, / all contribute to 
 this vast audience. 
 
 She was sent to the store to buy eggs, / sugar, / butter, / and coffee. 
 The charge is utterly, / totally, / and meanly / false. 
 
 CASE II. Pause to mark unusual rhetorical or gram- 
 matical constructions. 
 
 Under this case come the pauses that we all make when 
 we find words omitted, or words out of their natural order. 
 The reason for such pauses is clear. For a moment the 
 mind is uncertain just what is meant; that is, the mental 
 image or idea is blurred, and some interval of time, be it 
 ever so small, is needed to make the proper mental adjust- 
 ment. Such pauses serve to say to the audience, " Now, 
 watch this picture carefully in order to see what it really 
 is." They also serve to hold the idea a little longer before 
 the mind's eye, in order that we may comprehend it more 
 completely. Example of words omitted : 
 
 A people / once enslaved / may groan ages in bondage. 
 
 NOTE. The second pause in the above sentence is, of course, due 
 to a different cause. 
 
 The night has a thousand eyes, 
 The day / but one. 
 
 Example of words out of their natural order : 
 
 She was a Prince's child, 
 I but a Viking, / wild. 
 
 I am now what most folks / well-to-do / would call. 
 EXERCISES FOR LOCATING PAUSES 
 
 Let the student copy the following and locate the pauses 
 by drawing a slanting straight line between the words 
 where the pauses occur. Let those pauses which come 
 under the cases already given be indicated by number at 
 

 PAUSING 57 
 
 
 the top of the line, as, He came, l / but it was too late ; show- 
 ing that this pause comes under Case I. 
 
 The eujsgiurn pronounced on the character of the state of South 
 Carolina/ by the honorable gentleman,'Tor her revolutionary and other 
 merits, meets my hearty concurrence. I shall not acknowledge that the 
 honorable gentleman" goes before me^in regard for whatever of dis- 
 tinguished talent or distinguished character South Carolina has pro- 
 duced. I claim a part of the honor ; I partake in the pride of her great 
 name. I claim' them for countrymen, one and all. The Laurences, the 
 Rutledges, the Pinckneys, the Sumters, the Marions, Americans, all, 
 whose fame is no more to be hemmed in by State lines, than their 
 talents and patriotism were capable of being circumscribed within the 
 same narrow limits. 
 
 In their day and generation, they served and honored the country 
 and the whole country ; and their renown is of the treasures of the 
 whole country. Him whose name the gentleman himself bears, does 
 he suppose me less capable of gratitude for his patriotism, or sympathy 
 for his sufferings, than if his eye had first opened upon the light in 
 Massachusetts, instead of South Carolina ? Sir, does he suppose it is 
 in his power to exhibit a Carolina name so bright as to produce envy in 
 my bosom ? No, Sir : increased gratification and delight, rather. Sir, 
 I thank God that, if I am gifted with little of the spirit which is said to 
 be able to raise mortals to the skies, I have yet none, as I trust, of that 
 other spirit which would drag angels down. WEBSTER. 
 
 f, 
 
LESSON XV 
 PAUSING Continued 
 
 CASE III. Pause to mark appositives, parenthetical ex- 
 pressions, direct quotations, and words used independently. 
 
 Pauses under this case are used to designate words of 
 different value from those used to convey the regular flow 
 of the speaker's thought. They serve to say to the audience : 
 " Here my thought is interrupted (in the case of apposi- 
 tives or parenthetical expressions) to add some explana- 
 tory matter, or (in case of words used independently) to 
 call attention, or (in the case of a quotation) to insert the 
 words of another," and they mark the beginning and end 
 of such interruptions. Examples : 
 
 (a) Words in apposition. 
 
 Orsino, / noble sir, / 
 
 Be pleased I shake off these names you give me. 
 Caesar sent his lieutenant, / Titus Labienus, / to attend to these af- 
 fairs. 
 
 (b) Parenthetical expressions. 
 
 The time is coming, is almost here, when hanging above many a 
 mantel board in fair New England / glorifying many a cottage in the 
 sunny south / shall be seen bound together in everlasting love and 
 honor two cross-swords carried to battle respectively by the grandfather 
 that wore the blue and the grandfather that wore the gray. 
 
 WATTERSON. 
 
 You cannot, I venture to say it / you cannot conquer America ! 
 
 PITT. 
 58 
 
PAUSING 59 
 
 Then muttered the mate, / " I'm a man of Devon ! " / 
 
 And the captain thundered then : / 
 " There's English rope that bides our necks, 
 
 But we all be Englishmen ! " ROBERTS. 
 
 I am asked, / " Would you render the judges superior to the legis- 
 lature ?" / I answer, / "No; but coordinate. 11 
 
 (c) Words used independently. 
 John, / retire at once. 
 
 Gentlemen, / I hope I have performed my duty to my client. 
 The Puritans / there is a charm in that word which will never 
 be lost on a New England ear. 
 
 CASE IV. Pause for impressiveness. 
 
 Oftentimes a speaker wishes to make a mental image, 
 or idea, especially impressive. In such cases, of course, 
 his problem is to hold the mental image for some time be- 
 fore his audience, and in such a way as to increase its 
 vividness. This may be done, first, by clearing the mind, 
 by means of a pause, of all other images ; and second, by 
 giving this idea time to become vivid by inserting a pause 
 before any other idea is given. Examples : 
 
 You cannot, /I venture to say it / you cannot conquer America. 
 
 I tell you plainly that the bill, should it pass, cannot be enforced. 
 It will prove only a blot / on your statute book, a reproach / to the year, 
 and a disgrace / to the American Senate. I repeat, / it will not / be 
 executed ; it will rouse the dormant spirit of the people, and open their 
 eyes to the approach of despotism. The country has sunk into avarice 
 / and political corruption, / from which nothing can rouse it but some 
 measure, on the part of the Government, of folly / and madness, / such 
 as that now under consideration. J. C. CALHOUN. 
 
 EXERCISES FOR LOCATING PAUSES 
 
 Let the student copy the following, mark the pauses, 
 and number them according to the cases under which they 
 come. 
 
60 PAUSING 
 
 Mr. President : The stoutest apostle of the church, they say, is the 
 missionary, and the missionary, wherever he unfurls his flag, will never 
 find himself in deeper need of unction and address than I, bidden 
 to-night to plant the standard of a Southern Democrat in Boston's 
 banquet hall, and discuss the problem of the races in the home of 
 Phillips and of Sumner. But, Mr. President, if a purpose to speak in 
 perfect frankness and sincerity; if earnest understanding of the vast 
 interests involved ; if a consecrating sense of what disaster may follow 
 further misunderstanding and estrangement, if these may be counted to 
 steady undisciplined speech and to strengthen an untried arm, then, 
 Sir, I find courage to proceed. GRADY. 
 
 If I were to tell you the story of Napoleon, I should take it from the 
 lips of Frenchmen, who find no language rich enough to paint the great 
 captain of the nineteenth century. Were I to tell you the story of 
 Washington, I should take it from your hearts, you, who think no 
 marble white enough on which to carve the name of the Father of his 
 country. But I am to tell you the story of a negro, Toussaint L'Ouver- 
 ture, who has left hardly one written line. I am to glean it from the 
 reluctant testimony of his enemies, men who despised him because he 
 was a negro and a slave, hated him because he had beaten them in 
 battle. 
 
 Cromwell manufactured his own army. Napoleon, at the age of 
 twenty-seven, was placed at the head of the best troops Europe ever saw. 
 Cromwell never saw an army till he was forty ; this man never saw a 
 soldier till he was fifty. Cromwell manufactured his own army out 
 of what? Englishmen the best blood in Europe. Out of the middle 
 class of Englishmen, the best blood of the Island. And with it he 
 conquered what? Englishmen, their equals. This man manufac- 
 tured his army out of what? Out of what you call the despicable race of 
 negroes, debased, demoralized, by two hundred years of slavery, one 
 hundred thousand of them imported into the island within four years, 
 'unable to speak a dialect intelligible even to each other. Yet out of 
 this mixed, and, as you say, despicable mass he forged a thunderbolt, 
 and hurled it at what? At the proudest blood in Europe, the Spaniard, 
 and sent him home conquered ; at the most warlike blood in Europe, 
 the French, and put them under his feet; at the pluckiest blood in 
 Europe, the English, and they skulked home to Jamaica. Now, if 
 Cromwell was a general, at least this man wa^Ta soldier. 
 
 Now, blue- eyed Saxon, proud of your race, go back with me to the 
 commencement of the century, and select what statesman you please. 
 
PAUSING 6l 
 
 Let him be either European or American ; let him have a brain the 
 result of six generations of culture; let him have the ripest training 
 of university routine; let him add to it, the better education of practical 
 life ; crown his temples with the silver locks of seventy years, and show 
 me the man of Saxon lineage for whom his most sanguine admirer 
 will wreathe a laurel, rich as embittered foes have placed on the brow 
 of this negro, rare military skill, profound knowledge of human 
 nature, content to blot out all party distinctions, and trust a state to the 
 blood of its sons, anticipating Sir Robert Peel fifty years, and taking 
 his stand by the side of Roger Williams, before any Englishman or 
 American had won that right ; and yet this is the record which the 
 history of rival states makes up for this inspired black of San Domingo. 
 
 WENDELL PHILLIPS. 
 
 I 
 
LESSON XVI 
 BEGINNINGS OF GESTURE. POINTING 
 
 WE all know that the words we utter are often only part 
 of what we really say. By different movements of the 
 hands, by our attitudes, by the glance of the eye or the 
 flush of the cheek, we add to or subtract from the meaning 
 set down in the mere words. This is but natural ; we all 
 do it unconsciously. 
 
 Why, then, must we study gesture, you ask. Why not 
 let gesture take care of itself ? The question is a just one, 
 and what we really try to do is to let action take care of 
 itself. But every young person, for some unknown cause, 
 we call it embarrassment, immediately upon appearing 
 before a larger number of his fellows than usual, seems to 
 lose all naturalness. If he does succeed in saying some- 
 thing, as far as action goes, he is struck dumb. His feet 
 seem glued to the floor, and his hands are hopelessly tied 
 to his body. To overcome this peculiar state is the 
 problem that confronts the public speaker. He must 
 observe how people act ordinarily, how he himself acts, 
 and then transfer these movements to his public appear- 
 ances. By constant practice his embarrassment will dis- 
 appear, and graceful, forceful expression will succeed. 
 
 THE INDEX HAND (THE POINTING HAND) 
 
 One of the most common things we do in everyday life 
 is to point to things. The position^of the hand in this 
 pointing is generally known to public speakers as the 
 index position, or the index hand. 
 
 62 
 
BEGINNINGS OF GESTURE 
 
 In the most common form of the index hand, the fore- 
 ringer is extended, while the other fingers are curved in 
 
 FlG. 29. The common 
 index. 
 
 FlG. 30. The directing 
 index. 
 
 different degrees toward the palm, the thumb resting upon 
 the first joint of the middle finger. The palm is about 
 vertical. See Figure 29. The fore- 
 finger should not be absolutely straight, 
 but should rest in an easy curve. 
 
 Sometimes, if it is desired to em- 
 phasize the directing power of the 
 index, the hand may be turned over 
 until the palm is horizontal and the 
 thumb down. (See Fig. 30.) 
 
 When a person becomes very ani- 
 mated, the thumb rises, the degree of 
 animation determining the amount 
 that the thumb is raised. 
 
 But when we know how the index hand itself is formed, 
 we have really only the least part of a pointing gesture. 
 
 First : Getting ready. The hand must be moved from 
 the side of the body to the place where we wish to use the 
 gesture. This should be done in a straight line, that is, 
 
 FlG. 31. The animated 
 index. 
 
64 BEGINNINGS OF GESTURE 
 
 the hand should not go in a roundabout way to get to 
 
 its destination. 
 
 Second: The gesture itself . After the hand has been 
 
 raised in preparation, there comes a sweep of the arm to 
 
 the final destination of the gesture. 
 
 Third: The finish. When the hand has reached its 
 
 destination, there should 
 be a sort of stroke, or 
 definite final impulse. 
 This should occur on 
 the accented syllable of 
 the emphatic word. 
 
 Fourth: After the ges- 
 ture. After the ges- 
 ture is finished, the hand 
 should return to the side. 
 It is very easy in this 
 part of the gesture to 
 exercise too little or too 
 
 FIG. 32. The completed gesture. 
 
 much control over the 
 
 hand. A good rule is to let it fall, but keep a brake on 
 it. Give it a retarded fall. 
 
 CAUTION No. i. In the completed gesture, unless em- 
 phatic, avoid a straight arm. Let the arm be broken at the 
 elbow, and also at the wrist. (See Fig. 32.) 
 
 CAUTION No. 2. In making the stroke, do not turn the 
 hand over, so the palm is horizontal and the thumb up. 
 
 CAUTION No. 3. Be sure to get the wrist loose. Some 
 speakers use the hand and forearm as if it were one long, 
 straight rod. Get free movement at the wrist. (See Fig. 33. ) 
 
 CAUTION No. 4. Don't poke or punch. Let the stroke 
 be vertical, up and down, and not toward the audience or 
 the thing pointed to. 
 
BEGINNINGS OF GESTURE 
 
 Gestures made with the index hand are not 
 
 mere pointing, although all may be traced to 
 
 are also used in counting, enumerat- 
 
 ing, designating ; in caution, reproach, 
 
 and warning. Examples : 
 
 Ordinary Index : 
 
 Yonder is the church spire. 
 
 There is the very picture he spoke of. 
 
 Whose hat is that ? 
 
 Directing Index : 
 
 Go down that street and turn to your right. 
 Away ! Get you gone ! 
 
 confined to 
 this. They 
 
 Animated Index : 
 
 To prison with him ! Not another word ! 
 Sir ! There is the door ! Never venture 
 into my house again ! 
 
 GESTURES OF THE INDEX HAND IN 
 DEBATE AND ORATORY 
 
 FIG. 33. The right and the 
 wrong way of using the 
 index hand. The small 
 arc ab shows the correct 
 path of the finger, in mak- 
 ing the stroke of the ges- 
 ture, the center being at 
 the wrist. The large arc 
 AB shows the path of the 
 finger when the wrist is 
 held rigid and the center 
 of the movement is at the 
 elbow. This latter method 
 of using the index is to be 
 avoided. 
 
 Now, Honorable Judges, here is a point 
 that I wish you to consider. 
 
 First, Honorable Judges, it is unsatisfac- 
 tory. Second, it is contrary to approved 
 principles. 
 
 Is it not the same virtue which does everything for us here in Eng- 
 land ? Do you imagine that it is the Land Tax Act which raises your 
 revenue ? that it is the annual vote in the Committee of Supply which 
 gives you your army ? or that it is the Mutiny Bill which inspires it with 
 bravery and discipline ? No ! surely no ! It is the love of the people ; 
 it is their attachment to their government, from the sense of the deep 
 stake they have in such a glorious institution, which gives you your 
 army and your navy, and infuses into both that liberal obedience, with- 
 out which your army would be a base rabble, and your navy nothing but 
 rotten timber. EDMUND BURKE. 
 
 Why do we longer delay? Why do we still deliberate ? Let us 
 PUB. SPEAK. 5 
 
66 BEGINNINGS OF GESTURE 
 
 complete the enterprise already so well commenced ; and since our 
 union with England can no longer consist with that liberty and peace 
 which are our chief delight, let us dissolve these fatal ties and conquer 
 forever that good which we already enjoy an entire and absolute 
 independence. RICHARD HENRY LEE. 
 
 EXERCISES 
 
 36. Form the three kinds of index hand, first with the right hand 
 then with the left. 
 
 37. With the right hand in the first form of the index, point one 
 after the other to the floor, the window, and the ceiling. Do this first 
 far to the right, and then nearly in front of you. Do the same with 
 the left hand. When you use your right hand, stand with your right 
 foot forward ; when you use your left, stand with your left foot forward. 
 As you point, say the words, "The floor, the window, the ceiling. 1 ' Be 
 sure to strike on floor, win-, ceil-. 
 
 38. Pointing to the wall in front of you near the ceiling, with your 
 right hand, first far to the left, then in the middle, and then far to the 
 right, say, " That corner, the middle, and that corner." Repeat with 
 the left hand, starting at the extreme right. Change your position when 
 you change hands. Strike on that, mid-, and that. 
 
LESSON XVII 
 FORCE 
 
 How TO APPLY IT 
 
 IT is evident to everyone that we use force in speaking, 
 we exert power in sending words out from the vocal 
 organs. The zvay we exert this force is not so commonly 
 observed. 
 
 In general, there are three ways of exerting force, ist. 
 We may apply it gradually, smoothly, evenly, and gently. 
 2d. We may apply it very abruptly, so that the sound 
 seems to burst forth. $d. We may apply it as we do 
 in our everyday talk, which is neither gradually and 
 smoothly, nor yet abruptly, but between the two. 
 
 We apply force gradually, smoothly, gently, evenly, in 
 such sentiments as reverence, feebleness, suppressed fear, 
 awe, etc., and when our moods are tinged with sadness. 
 The way force is applied in these sentiments might very 
 well be represented by a gently rolling swell on the sea or 
 a slowly undulating line such as the following. Example : 
 
 Evermore all the days are long, and the cheerless skies are gray, 
 Restlessly wander the baffling winds that scatter the blinding spray, 
 And the drifting currents come and go like serpents across my way. 
 
 Wearily fades the evening dim, drearily wears the night. 
 
 The ghostly mists and the hurrying clouds and the breakers' crests of 
 
 white 
 Have blotted the stars from the desolate skies, have curtained them 
 
 from my sight. ROBERT J. BURDETTE. 
 
68 FORCE 
 
 Oh, give me the spot that I once used to know 
 
 By the side of the placid old River St. Joe ! 
 
 Where the tall grasses nod at the close of the day, 
 
 And the sycamore's shadow is slanting away 
 
 Where the whip-poor-will chants from a far distant limb 
 
 Just as if the whole business was all made for him. 
 
 Oh ! it's now that my thoughts, flying back on the wings 
 
 Of the rail and the die-away song that he sings, 
 
 Bring the tears to my eyes that drip off into rhyme, 
 
 And I live once again in the old summer time ; 
 
 For my soul it seems caught in old time's under-tow, 
 
 And I'm floating away down the River St. Joe. 
 
 BEN KING. 
 
 So let him lie here to-day, and let our people go and bend with 
 solemn thoughtfulness and look upon his face, and read the lessons of 
 his burial. As he paused here on his journey from the Western home 
 and told us what by the help of God he meant to do, so let him pause 
 on his way back to his Western grave and tell us, with a silence more 
 eloquent than words, how bravely, how truly, by the strength of God, he 
 did it. God brought him up as he brought David up, from the sheep 
 folds, to feed Jacob, his people, and Israel, his inheritance. He came 
 up in earnestness and faith, and he goes back in triumph. As he pauses 
 here to-day, and from his cold lips bids us bear witness how he has met 
 the duty that was laid on him, what can we say out of our full hearts but 
 this, " He fed them with a faithful and true heart, and ruled them 
 prudently with all his power." 
 
 The Shepherd of the People! that old name that the best rulers have 
 ever craved. What ruler ever wore it like this dead President of ours ! 
 He fed us faithfully and truly. He fed us with counsel when we were 
 in doubt, with inspiration when we sometimes faltered, with caution 
 when we would be rash, with calm, clear, trusted cheerfulness through 
 many an hour when our hearts were dark. He fed hungry souls all 
 over the country with sympathy and consolation. He spread before the 
 whole land feasts of great duty and devotion and patriotism, on which 
 the land grew strong. He fed us with solemn, solid truths. He taught 
 us the sacredness of government, the wickedness of treason. He made 
 our souls glad and vigorous with the love of liberty that was in his. 
 He showed us how to love truth and yet be~ charitable, how to hate 
 wrong and all oppression, and yet not treasure one personal injury or 
 insult. He fed all his people, from the highest to the lowest, from the 
 
FORCE 69 
 
 most privileged down to the most enslaved. Best of all, he fed us with 
 a reverent and genuine religion. He spread before us the love and fear 
 of God just in that shape in which we need them most, and out of his 
 faithful service of a higher Master who of us has not taken and eaten and 
 grown strong ? " He fed them with a faithful and true heart." Yes, 
 till the last. For at the last, behold him with hand outstretched to feed 
 the South with Mercy, and the North with Charity, and the whole land 
 with peace, when the Lord who had sent him called him, and his work 
 was done! PHILLIPS BROOKS on The Character of Lincoln. 
 
 We apply force very suddenly and abruptly in great 
 earnestness, joy, defiance, alarm, anger, etc. Example : 
 
 Fight, Gentlemen of England! fight, bold yeomen! 
 Draw, archers, draw your arrows to the head : 
 Spur your proud horses hard, and ride in blood ; 
 Amaze the welkin with your broken staves. 
 A thousand hearts are great within my bosom. 
 Advance our standards, set upon our foes! 
 Our ancient word of courage, fair Saint George, 
 Inspire us with the spleen of fiery dragons! 
 Upon them! Victory sits on our helms. 
 
 SHAKESPEARE. 
 
 And then, besides his irreproachable character, he had what is half 
 the power of a popular orator, he had a majestic presence. A little 
 O^Connell would have been no O'Connell at all. In youth he had the 
 brow of a Jupiter and the stature of Apollo. Sydney Smith says of 
 Lord John Russell's five feet, when he went down to Yorkshire after 
 the Reform Bill had passed, the stalwart hunters of Yorkshire ex- 
 claimed, "What, that little shrimp, he carry the Reform Bill!" " No, 
 No!" said Smith, "he was a large man, but the labors of the bill 
 shrunk him." 
 
 I remember the story Russell tells of Webster ; when a year or two 
 before his death, the Whig party thought of dissolution, Webster came 
 home from Washington and went down to Faneuil Hall to protest, and 
 four thousand of his fellow Whigs came out ; drawing himself up to his 
 loftiest proportion, his brow charged with thunder, before the listening 
 thousands, he said, "Gentlemen, I am a Whig, a Massachusetts Whig, 
 a Faneuil Hall Whig, a constitutional Whig, a revolutionary Whig. 
 If you break up the Whig party, sir, where am I to go?" And, says 
 Lowell, " We all held our breath, thinking where he could go. But if 
 
70 FORCE 
 
 he had been five feet three, we should have said, " ' Who cares where 
 you go? 111 
 
 Well. CTConnell had all that ; and true nature seemed to be speak- 
 ing all over him. It would have been a pleasure even to look at him if 
 he had not spoken at all. and all you thought of was a greyhound. 
 
 And then he had what so few American speakers have, a voice that 
 sounded the gamut. I heard him once in Exeter Hall say, " Ameri- 
 cans, I send my voice careering across the Atlantic like a thunderstorm, 
 to tell the slave holders of the Carolinas that God's thunderbolts are 
 hot, and to remind the negro that the dawn of his redemption is draw- 
 ing near," and I seemed to hear his voice reverberating and reechoing 
 back to Boston from the Rocky Mountains. 
 
 WENDELL PHILLIPS, on Daniel (FConnell. 
 
 The third method of applying force scarcely needs illus- 
 tration. It is that which we use in our ordinary thoughts and 
 feelings, for narration, patriotism, gladness, etc. Example : 
 
 It is now forty years since I first saw and heard Abraham Lincoln, 
 but the impression which he left on my mind is ineffaceable. After his 
 great successes in the West, he came to New York to make a political 
 address. He appeared in every sense of the word like one of the plain 
 people among whom he loved to be counted. At first sight, there was 
 nothing impressing and imposing about him. His clothes hung awk- 
 wardly on his giant frame. His seamed and rugged features bore the 
 furrows of hardship and struggle. As he talked to me before the meet- 
 ing, he seemed ill at ease, with that sort of apprehension which a young 
 man might feel before presenting himself to a new and strange audience, 
 whose critical disposition he dreaded. JOSEPH H. CHOATE. 
 
 EXERCISES 
 
 39. Give the following words with a gently swelling utterance, and 
 then allow them to die away. 
 
 lone moan roar gloaming foaming roaming break 
 cold gray stones sea twilight star call 
 
 40. Give the following words in an utterance that breaks forth all 
 at once. 
 
 back dog go pull cannon tack 
 
 down peace turn strike false blasphemer 
 
LESSON XVIII 
 FORCE Continued 
 
 THE AMOUNT TO APPLY 
 
 IN Lesson XVII we found that Force is the power we 
 exert in sending out words from the vocal organs. To deter- 
 mine the amount of this force is no easy task, yet in general 
 it may be said that our ordinary force is increased in expres- 
 sing some sentiments and decreased in expressing others. 
 
 But whatever the sentiment, the amount of force used is 
 dependent upon two things : 
 
 1. The speaker. 
 
 2. The place where he is speaking. 
 
 Not all persons are equal in vocal strength. To gain 
 the same effect, one person must oftentimes use several 
 times the force enployed by another. Each person has 
 a scale of his own, and he should not try to imitate that 
 of any other person. 
 
 Again, force, as mentioned above, differs with the place 
 of speaking. More force would be needed in a large audi- 
 torium than in a small one, and still more would be needed 
 in the open air than in either. What might be a proper 
 amount of force for a large room might be too much in a 
 small room. Nor does the size have all to do with the force 
 that should be used. Sometimes the shape, or the ventila- 
 tion, affects the amount of force needed. 
 
 But taking an average speaker and an average audi- 
 torium, each degree of force is suitable for certain senti- 
 ments and conditions. 
 
 7' 
 
72 FORCE 
 
 Gentle force is suitable for stillness, tranquillity, sadness, 
 solemnity, veneration, aive, etc. Example : 
 
 Our way lay from one to another of the most wretched dwellings, 
 reeking with horrible odors, shut out from the sky, shut out from the 
 air, mere pits and dens. In a room in one of these places, where 
 there was an empty porridge pot on the cold hearth, with a ragged 
 woman and some ragged children crouching on the bare ground near 
 it, where, I remember, as I speak, that the very light, reflected from 
 a high, damp-stained and time-stained house wall, came trembling in, 
 as if the fever which had shaken everything else there had even shaken 
 it, there lay, in an old egg box which the mother had begged from 
 a shop, a little, feeble, wasted, wan, sick child, with his little wasted 
 face, and his little hot, worn hands folded over his breast, and his 
 little, bright, attentive eyes looking steadily at us. I can see him 
 now as I have seen him for several years ; there he lay in his little 
 frail box, which was not at all a bad emblem of the little body from 
 which he was slowly parting there he lay, quite quiet, quite patient, 
 saying never a word. He seldom cried, the mother said ; he seldom 
 complained; "he lay there, seemin 1 to wonder what it was a 1 about." 
 God knows, I thought, as I stood looking at him, he had his reasons 
 for wondering. CHARLES DICKENS, in an After Dinner Speech. 
 
 Strong force is suitable for grandeur, patriotism, scorn, 
 hate, revenge, etc. Example : 
 
 Now, gentlemen, not to weary you, I am about to present a name 
 for your consideration, the name of one who was the comrade, 
 associate, and friend of nearly all the noble dead whose faces look 
 down upon us from these walls to-night, a man who began his career 
 of public service twenty-five years ago, who courageously confronted 
 the slave power in the days of peril on the plains of Kansas, when 
 first began to fall the red drops of that bloody shower which finally 
 swelled into the deluge of gore in the late Rebellion. He bravely 
 stood by young Kansas, and, returning to his seat in the National 
 legislature, his pathway through all the subsequent years has been 
 marked by labors worthily performed in every department of legis- 
 lation. 
 
 You ask for his monument. I point you to twenty-five years of 
 national statutes. Not one great, beneficent law has been placed on 
 our statute books without his intelligent and powerful aid. He aided 
 
FORCE 73 
 
 in formulating the laws to raise the great armies and navies which 
 carried us through the war. His hand was seen in the workmanship 
 of those statutes that restored and brought back " the unity and 
 married calm of States." His hand was in all that great legislation 
 that created the war currency, and in all the still greater work that 
 redeemed the promises of the government and made the currency 
 equal to gold. 
 
 When at last he passed from the halls of legislation into high execu- 
 tive office, he displayed that experience, intelligence, firmness, and poise 
 of character which have carried us through a stormy period of three 
 years, with one half the public press crying " Crucify him ! " and a 
 hostile Congress seeking to prevent success. In all this he remained 
 unmoved until victory crowned him. The great fiscal affairs of the na- 
 tion and the vast business interests of the country, he guarded and pre- 
 served while executing the law of resumption, and effected its object 
 without a jar, and against the false prophecies of one half of the press 
 and of all the Democratic party. 
 
 He has shown himself able to meet with calmness the great emer- 
 gencies of the government. For twenty-five years he has trodden the 
 perilous heights of public duty, and against all the shafts of malice has 
 borne his breast unharmed. He has stood in the blaze of " that fierce 
 light that beats against the throne," but its fiercest ray has found no 
 flaw in his armor, no stain upon his shield. I do not present him as a 
 better Republican or a better man than thousands of others that we 
 honor; but I present him for your deliberate and favorable considera- 
 tion. I nominate John Sherman of Ohio. JAMES A. GARFIELD. 
 
 Very strong force is suitable for courage, defiance, alarm, 
 anger, rage, etc. Example: 
 
 Has the gentleman done? Has he completely done? He was un- 
 parliamentary from the beginning to the end of his speech. There was 
 scarce a word that he uttered that was not a violation of the privileges 
 of the House. But I did not call him to order. Why? Because the 
 limited talents of some men render it impossible for them to be severe 
 without being unparliamentary. But before I sit down I shall show him 
 how to be severe and parliamentary at the same time. On any other 
 occasion, I should think myself justifiable in treating with silent con- 
 tempt anything which might fall from the honorable member ; but there 
 are times when the insignificance of the accuser is lost in the magnitude 
 of the accusation. I know the difficulty the honorable gentleman 
 
74 FORCE 
 
 labored under when he attacked me, conscious that, on a comparative 
 view of our characters, public and private, there is nothing he could say 
 which would injure me. The public would not believe the charge. I 
 despise the falsehood. If such a charge were made by an honest man, 
 I would answer it in the manner I shall do before I sit down. But I 
 shall first reply to it when not made by an honest man. 
 
 The right honorable gentleman has called me "an unimpeached 
 traitor.' 7 I ask, why not "traitor," unqualified by any epithet? I will 
 tell him ; it was because he dare not! It was the act of a coward, who 
 raises his arm to strike, but has not the courage to give the blow! 
 I will not call him villain, because it would be unparliamentary, and he 
 is a Privy Councilor. I will not call him fool, because he happens to 
 be Chancellor of the Exchequer. But I say he is one who has abused 
 the privilege of Parliament and freedom of debate, in uttering language, 
 which, if spoken out of the House, I should answer only with a blow. I 
 care not how high his situation, how low his character, how contemptible 
 his speech ; whether a privy councilor or a parasite, my answer would 
 be a blow. He has charged me with being connected with the rebels. 
 The charge is utterly, totally, and meanly false! Does the honorable 
 gentleman rely on the report of the House of Lords for the foundation 
 of his assertion? If he does, I can prove to the committee there was a 
 physical impossibility of that report being true. But I scorn to answer 
 any man for my conduct, whether he be a political coxcomb, or whether 
 he brought himself into power by a false glare of courage or not. 
 
 I have returned, not, as the right honorable member has said, to raise 
 another storm, I have returned to discharge an honorable debt of 
 gratitude to my country, that conferred a great reward for past services, 
 which, I am proud to say, was not greater than my desert. I have re- 
 turned to protect that Constitution, of which I was the parent and 
 founder, from the assassination of such men as the honorable gentleman 
 and his unworthy associates. They are corrupt they are seditious 
 and they, at this very moment, are in a conspiracy against their country! 
 I have returned to refute a libel, as false as it is malicious, given to the 
 public under the appellation of a report of the committee of the Lords. 
 Here I stand for impeachment or trial ! I dare accusation ! I defy the 
 honorable gentleman ! 1 defy the Government ! I defy their whole 
 phalanx ! let them come forth ! I tell the ministers I shall neither 
 give them quarter nor take it ! 
 
 HENRY GRATTAN (Invective against Mr. Corry). 
 
LESSON XIX 
 GESTURE 
 
 THE OPEN HAND WITH THE PALM DOWN 
 
 OFTENTIMES we have occasion to use a pointing gesture, 
 and yet we do not wish it to be as definite as the index 
 hand would make it. To supply this need, we use the open 
 hand with the palm down. See Fig- 
 ure 34. If a stroke were made down- 
 ward with this hand, it might remind 
 one of a paint brush, with the fingers 
 and thumb representing the flexible 
 part of the brush. 
 
 CAUTION No. i . When the ges- 
 ture is finished, that is, after the 
 .stroke has been made, the hand 
 should extend straight out from the 
 forearm or be elevated at a slight 
 angle, 
 downward. 
 
 ^ , ., FIG. 34. A gesture with the 
 
 Dont let it droop or pitch palmof the hand down . 
 
 This gesture is used to locate, trace, measure, shape, 
 mold, etc. From these uses it has been extended in one 
 direction to caressing, blessing, and protection, and in an- 
 other to reproof, stippression, and restraint. In the last 
 division, the hand takes a slight angle with the forearm, 
 and the stroke should be stopped a little before the hand 
 reaches the level of the forearm. Examples : 
 
 75 
 
7 6 
 
 GESTURE 
 
 Yonder clump of trees. 
 
 That strip of woods that borders the field. 
 
 From this house over to that one. 
 
 I will heap up this sand into a little mound. 
 Blessings on thee, little* man, 
 Barefoot boy with cheek of tan! WHITTIER. 
 
 Pause, I entreat you ; consider for a moment what reasons you can 
 give to your fellow sufferers in this calamity that it will bring upon us. 
 What reasons can you give to the nations of the earth to justify it ? 
 They will be the calm and deliberate judges in this case ; and to what 
 cause or overt act can you point on which to rest the plea of justifica- 
 tion? What right has the North assailed? What interest of the 
 South has been invaded ? What justice has been denied ? And what 
 claim founded upon justice and right has been withheld? Can you to- 
 day name one governmental act of wrong deliberately and purposely 
 done by the Government at Washington of which the South has a 
 right to complain ? A. H. STEPHENS, in Plea Against Secession. 
 
 THE OPEN HAND WITH PALM UP 
 
 Just opposite to the open hand with palm down, and in 
 many cases, opposite to it in meaning, is the open hand 
 with palm up. This hand is formed 
 by turning the hand so that the palm 
 is up, and allowing the forefinger to 
 drop below the middle finger, at the 
 same time letting the whole hand 
 droop slightly from the wrist. 
 
 CAUTION No. i. Be sure to get 
 the fingers fully unrolled. Do not 
 have them bent in toward the palm. 
 Avoid, however, the extreme of having 
 the hand flat (See Fig. 36.) 
 
 CAUTION No. 2. Do not get a 
 " cup " hand ; that is, do not get too 
 deep a palm, open the palm part of the hand farther. 
 (See Fig. 38.) 
 
 FlG. 35. The proper form 
 of a gesture with the palm 
 of the hand up. 
 
GESTURE 
 
 77 
 
 FlG. 36. Fingers not un- FIG. 37. Fingers plas- 
 rolied. tered together. 
 
 FIG. 38. The " cup " 
 hand. 
 
 FlG. 39. Thumb allowed FlG. 40. Fingers spread, 
 
 to fall in toward the palm. 
 
 Some common faults in the formation of the hand with palm up. 
 
78 GESTURE 
 
 CAUTION No. 3. Do not let the thumb fall in toward 
 the palm. Keep it out to the side. (See Fig. 39.) 
 
 CAUTION No. 4. Do not plaster the fingers, nor yet 
 spread them. (See Figs. 37 and 40 ) 
 
 CAUTION No. 5. Do not forget the stroke. Every 
 gesture must have a stroke. Let there be a slight unrolling 
 of the fingers as the stroke is made. 
 
 CAUTION No. 6. When one gesture follows close upon 
 another, it is not necessary to recover the hand fully each 
 
 FlG. 41. " Reaching " for a gesture 
 with the palm up a common fault. 
 
 FlG. 42. A correct use of the gesture 
 with the palm up the body erect and 
 a bend in ihe arm at both the elbow 
 and wrist. 
 
 time. It may just be given little succeeding strokes on the 
 following emphatic words by an impulse from the elbow. 
 
GESTURE 79 
 
 CAUTION No. 7. The palm should neither be horizontal 
 nor vertical, but about halfway between, at an angle of 
 about 45, 
 
 CAUTION No. 8. Do not allow the gesture to pull you 
 forward, as shown in Figure 41. Keep erect, as in Figure 
 42, and remember to keep a bend at the elbow and also 
 at the wrist. 
 
 This gesture is used in asking, giving, receiving, welcom- 
 ing, asserting, revealing, explaining ; also in humility, conces- 
 sion, and the like. Examples : 
 
 Give it to me. 
 
 Take it. 
 
 Let me ask, then, what is the chief business of war ? It is to 
 destroy human life ; to mangle the limbs ; to gnash and hew the body ; 
 to plunge the sword into the heart of a fellow creature ; to strew the 
 earth with bleeding frames, and to trample them under foot with horses' 
 hoofs. It is to batter down and burn cities ; to -turn fruitful fields into 
 deserts ; to level the cottage of the peasant and the magnificent abode 
 of opulence ; to scourge nations with famine ; to multiply widows and 
 orphans. CHANNING. 
 
 EXERCISES 
 
 41. Give the hand, palm up, with the right hand toward the floor, the 
 window, and the ceiling, first far to the right and then nearly in front 
 of you. Stand with the right foot forward for this. Say the words, 
 " The floor, the window, and the ceiling," as you make the gestures. 
 
 42. Give the hand, palm up, with the left hand toward the floor, the 
 window, and the ceiling, first far to the left and then nearly in front of 
 you. Stand with the left foot forward for this. Say the words as in 
 Ex. 41. 
 
 43. Execute Ex. 41 with the hand, palm down. 
 44 Execute Ex. 42 with the hand, palm down. 
 
 45. Try the hand, palm up and palm down, in all sorts of positions 
 and directions. Say the words that arise in your mind when you make 
 some of these gestures. 
 
LESSON XX 
 MORE SUGGESTIONS ABOUT ACTUAL SPEAKING 
 
 As you sit on the platform. If you are seated on the 
 platform before beginning your speech, which is gener- 
 ally the best plan, for then you become rather used to the 
 audience before you speak, it is well to be careful not 
 to sit in a slouchy manner. Do not be too prim, but do 
 not be slovenly. As it comes nearer your turn to speak, 
 be sure to get your feet in one of the easy positions for 
 speaking. 
 
 Addressing the chairman. When the chairman has 
 announced your subject and has called your name, he will 
 generally turn toward you. As he turns, rise to your full 
 height and make a little nod, saying aloud, or partially 
 aloud, the words, " Mr. Chairman." As you make the nod, 
 incline the body just a trifle from the waist. Be careful 
 not to make too formal a bow out of this. Just make a 
 respectful nod. 
 
 Getting forward to your audience. After you have ad- 
 dressed the chair, walk easily to the front part of the plat- 
 form, gradually shortening your steps, and slowing them 
 down, until you drop easily into one of the ordinary speak- 
 ing positions. Wait until your audience gets quiet before 
 you begin. Do not make a bow to the audience unless you 
 are very well known and a general favorite and the ap- 
 plause is very much prolonged. Stand still till you have 
 perfect quiet. This will help your audience hear your first 
 words, which are often important, and it will also enable 
 you to get a little more at ease. 
 
 80 
 
MORE SUGGESTIONS ABOUT ACTUAL SPEAKING 8 1 
 
 The start. If you happen to have the left foot back, it 
 is a little easier, and avoids twisting your body, to talk to 
 the people on your left center and left. If you happen to 
 start with the right foot back, it is a little easier and 
 avoids twisting, to commence talking to the people on 
 your right center and right. This rule will not apply 
 when you get to making gestures. Most gestures should 
 be made over the forward foot, especially those which are 
 meant to emphasize something. Do not turn too far to 
 the sides, the corners of the room are about the right 
 guides. If you turn too far, the people on the other side 
 will not hear you. 
 
 Commence speaking very slowly, almost hesitatingly, 
 making long pauses after every idea-group of words in 
 your sentence. As you speak your first sentence, or your 
 first two or three sentences if they are short, gradually 
 turn to the right or left, so as to cover the entire audience, 
 closing the sentence by bringing back your right or left 
 foot, as the case may be, to the opposite position from the 
 one with which you started. 
 
 The body of the speech. After your first sentence, you 
 may gradually increase your speed up to a hundred and 
 twenty-five or a hundred and forty words, according to the 
 size of the room. You may also decrease the frequency 
 of your turns from right to left until they occur, perhaps, 
 only between paragraphs. It is well always to change 
 position between paragraphs, for just as the indentation 
 on the printed page serves to indicate a division of thought, 
 so does a change of position on the platform. If you 
 make any gestures, be sure to get a wide enough base to 
 support them. If you do not, your gesture will look as if 
 it were going to pull you over. Step out with the foot to 
 get a wide base. Don't startle an audience by " spring- 
 ing" gestures upon them too suddenly. Show by your 
 
 PUB. SPEAK. 6 
 
82 MORE SUGGESTIONS ABOUT ACTUAL SPEAKING 
 
 whole bodily excitement that a gesture is coming, and then 
 they will be ready for it. Actually get yourself worked 
 up to such a pitch that the gesture must come, and 
 you cannot possibly keep it back. 
 
 The finish, r When you have finished, make a little nod. 
 Do not make a bow. As you make the nod, bring your 
 front foot back, then your other one, and then turn for 
 your seat. When you sit down, do not turn clear around 
 so that your back is squarely toward the audience. To 
 avoid this, you may step a little to the opposite side of the 
 platform from your seat on the first two backward steps, 
 and then walk obliquely to your chair. Try all these 
 things at home, or in practice, before you appear. Don't 
 make the nod flippant. 
 
 A FEW DON'T'S 
 
 Don't put your hands in your pockets. 
 
 Don't put your hands behind you. 
 
 Don't finger your rings. 
 
 Don't move straight across the platform. Work in 
 oblique lines, retiring on the close of your paragraphs, and 
 coming out on the beginnings. 
 
 Don't slump by letting your weight rest on one foot. 
 Stand on both feet. 
 
 Don't speak to the galleries. Keep downstairs. 
 
 Don't step so far when you change position that you 
 bring your back heel off the floor. Keep both heels on 
 the floor unless you are making gestures, or are intensely 
 interested. 
 
 Don't talk to a few people in the front of your audience. 
 Talk to those on the outskirts of the room. 
 
LESSON XXI 
 PITCH 
 
 NOT all the changes of pitch in our speech are so ap- 
 parent as those set forth in Lesson XII. Within every 
 sentence we make smaller changes, which, though not so 
 plain as those already given, are just as important, and 
 must be clearly understood by the student of public speak- 
 ing if he would succeed. 
 
 THE STEP 
 
 The simplest change of pitch that we have is called 
 the step of the voice. Of course, it may be either UP 
 or DOWN. For instance, in the sentence, " /'// tear her 
 all to pieces" we take steps something like the following : * 
 
 tear all pie- 
 Til her to ces. 
 
 or, all 
 
 to 
 
 tear pie- 
 
 Til her ces. 
 
 * No typographical means, of course, is adequate to picture correctly for 
 the eye, the path of melody in speech. While there are distinct steps in all 
 speaking, they are not as numerous as our ear would lead us to believe. Many 
 of our consonants have slight sounds, and changes of pitch occur during 
 their progress, so that a scientifically correct record of our speech would show 
 us that it moves more by waves than by steps. See Fig. 55, pp. 120-121, and 
 the accompanying description. This fact should be carefully noted by the 
 student, lest he fall into the habit of being " choppy " in his style. Let each 
 thought unit constitute a single " convexity " of melody which may, of course, 
 be made up of component waves with crests of varying height. 
 
 83 
 
84 PITCH 
 
 Between Fll and tear, both in the first and second read- 
 ing, we have an upward step, and between all and to, in 
 both, we have a downward step. In the second reading, 
 we have all downward steps from all to the end. 
 
 Thus, in all speech we are continually stepping up and 
 down in our scales of pitch. 
 
 Below are appended a few additional examples.* Let 
 the student read them aloud, following the steps as they 
 occur. 
 
 Oh, 
 no! 
 
 Yes, 
 Sir 
 
 true? 
 Is it 
 
 there? 
 Is he 
 
 said 
 Who so? 
 
 Who 
 
 said so? 
 
 days weeks slow- 
 The and pass ly. 
 
 Break, 
 
 break, 
 
 break, 
 
 gray O 
 
 cold stones, Sea! 
 On thy 
 
 would tongue utter 
 
 And I that my could 
 
 * It is understood, of course, by both teacher and pupil that the speech 
 melody, or sequence of steps and slides of the voice, given in the text for these 
 examples is merely one that has suggested itself to .the author. Other arrange- 
 ments of slides and steps, equally good or better, are entirely possible. 
 
PITCH 85 
 
 thoughts rise 
 
 The that a- in 
 
 me. 
 
 well fisherman's 
 
 Oh, for the boy, 
 
 shouts sister play ! 
 
 That he with his at 
 
 well sailor lad, 
 
 Oh, for the 
 
 sings boat 
 
 That he in his on the bay ! 
 
 stately ships go 
 And the on 
 
 ha- under hill ; 
 To their ven the 
 
 oh, touch vanished 
 
 But for the of the hand, 
 
 sound voice 
 And the of a that is 
 
 still! 
 
 Break, 
 
 break, 
 
 break, 
 
 O 
 
 foot crags, 
 
 At the of thy Sea! 
 
 tender grace day 
 But the that 
 
 of a is 
 
 dead 
 
 come 
 
 never back 
 
 Will to me. 
 
 TENNYSON. 
 
86 PITCH 
 
 Four 
 
 score brought 
 
 and fathers ' forth 
 
 seven go, our 
 
 years 
 a- 
 
 new ceived 
 
 upon nent, a na- con- in 
 
 this ti- tion, liberty, 
 
 con- and 
 
 dedicated 
 
 to tion, all 
 
 the that men 
 
 prop- are 
 
 o- created 
 
 si- equal. 
 
 great 
 
 Now gaged civil testing that 
 
 we are en- in a war, whether 
 
 any so conceived 
 
 nation, nation, and . 
 
 or so 
 
 ded- ted, can 
 i- 
 
 ca- 
 
 long en- 
 dure. 
 
 EXERCISES 
 
 Write out, similarly to the examples just given, the steps 
 in pitch for the following : 
 
 (Let one section of the class take one part of the verses 
 and other sections other parts.) 
 
 i 
 
 At Paris it was, at the Opera there ; 
 
 And she looked like a queen in a book, that night, 
 With the wreath of pearl in her raven hair, 
 
 And the brooch on her breast so bright. 
 
PITCH 87 
 
 Of all the operas that Verdi wrote, 
 
 The best, to my taste, is the Trovatore ; 
 
 And Mario could soothe with a tenor note 
 The souls in purgatory. 
 
 in 
 
 The moon on the tower slept soft as snow, 
 
 And who was not thrilled in the strangest way, 
 
 As we heard him sing, while the gas burned low, 
 u Non ti scordar di me ! " 
 
 IV 
 
 The Emperor there, in his box of state, 
 Looked grave, as if he had just then seen 
 
 The red flag wave from the city gate, 
 Where his eagles in bronze had been. 
 
 The Empress, too, had a tear in her eye, 
 
 You'd have said that her fancy had gone back again, 
 For one moment under the old blue sky, 
 
 To the old, glad life in Spain. 
 
 VI 
 
 Well ! there in our front-row box we sat 
 Together, my bride-betrothed and I ; 
 
 My gaze was fixed on my opera hat, 
 And hers on the stage hard by ; 
 
 VII 
 
 And both were silent and both were sad ; 
 
 Like a queen, she leaned on her full white arm, 
 With that regal, indolent air she had, 
 
 So confident of her charm. 
 
88 PITCH 
 
 vm 
 
 I have not a doubt she was thinking then 
 Of her former lord, good soul that he was ! 
 
 Who died the richest and roundest of men, 
 The Marquis of Carabas. 
 
 IX 
 
 Meanwhile I was thinking of my first love, 
 As I had not been thinking of aught for years, 
 
 Till over my eyes there began to move 
 Something that felt like tears. OWEN MEREDITH. 
 
 Fourscore and seven years ago, our Fathers brought forth upon this 
 continent a new Nation, conceived in Liberty, and dedicated to the 
 proposition that all men are created equal. 
 
 Now we are engaged in a great Civil War, testing whether that 
 Nation, or any Nation, so conceived and so dedicated, can long endure. 
 
 We are met on a great battlefield of that War. We have come to 
 dedicate a portion of that field as a final resting place for those who 
 here gave their lives that that Nation might live. 
 
 It is altogether fitting and proper that we should do this. 
 
 But in a larger sense, we cannot dedicate, we cannot consecrate, 
 we cannot hallow this ground. The brave men, living and dead, who 
 struggled here, have consecrated it far above our power to add or 
 detract. 
 
 The World will little note, or long remember, what we say here ; 
 but it can never forget what they did here. 
 
 It is for us, the living, rather to be dedicated here to the unfinished 
 work which they who fought here have, thus far, so nobly advanced. 
 
 It is rather for us to be here dedicated to the great task remaining 
 before us ; that from these honored dead we take increased devotion to 
 that Cause for which they gave the last full measure of devotion ; that 
 we here highly resolve that these dead shall not have died in vain ; 
 that this nation, under God, shall have a new birth of freedom ; and 
 that Government of the People, by the People and for the People, shall 
 not perish from the Earth. LINCOLN'S Gettysburg Address. 
 
LESSON XXII 
 PITCH Continued 
 
 THE SLIDE 
 
 BESIDES the step there is also another change of pitch, 
 called the slide. This, also, may be an upward or a 
 downward slide. 
 
 In Ex. 35, the slide has already been given by the 
 student, and it but remains to illustrate its use in speech. 
 In the sentence, "/$ he there?" if the word there is pro- 
 longed, the student will notice a rising slide. Likewise, in 
 the sentence " Come here!" he will notice a downward 
 slide, if the last word is prolonged. Examples : 
 
 NOTE. For convenience, in the following examples, a line curving 
 upward will be used to denote a rising slide, and a line curving down- 
 ward a falling slide. Let the student read the examples aloud, being 
 careful to observe the slides indicated. These may even be exagger- 
 ated for the time being, it being understood, of course, that in actual 
 speech some slides are short and some long. 
 
 RISING 
 
 Is he there ? 
 
 Will he go ? 
 
 They tell us, sir, that we are weak, unable to cope with so 
 formidable an adversary. But when shall we be stronger ? Will it be 
 the next week, or the next year ? Will it be when we are totally dis- 
 armed, and when a British guard shall be stationed in every House ? 
 Shall we gather strength by irresolution and inaction? Shall we 
 acquire the means of effectual resistance by lying supinely on our 
 
 89 
 
90 PITCH 
 
 backs, and hugging the delusive phantom of hope until our enemy shall 
 have bound us hand and foot ? PATRICK HENRY. 
 
 FALLING 
 
 Come here. 
 
 Close the door. 
 
 How far, O Catiline, wilt thou abuse our patience ! How long 
 shalt thou baffle justice in thy mad career ! To hvhat extremity wilt 
 thou carry thy audacity ! CICERO. 
 
 Romans, Countrymen, and lovers ! Hear me for my cause ; and be 
 silent that you may hear. Believe me for my honor ; and have respect 
 for mine honor, that you may believe. Censure me in your wis- 
 dom, etc. SHAKESPEARE. 
 
 The student may copy the following, marking the im- 
 portant slides as in the examples already given. 
 
 RISING 
 
 Student of history, compare for me the baffled projects, the deserted 
 settlements, the abandoned adventures of other times, and find the 
 parallel of this. Was it the winter storm, beating upon the houseless 
 heads of women and children ? Was it hard labor and spare meals ? 
 Was it disease ? Was it the tomahawk ? Was it the deep malady of a 
 blighted hope, a rumed^_enjterprise, and a broken heart, aching in its 
 last moments at the recollections of the loved and left, beyond the 
 seas ? Was it some or all of them united that hurried this forsaken 
 company to their melancholy fate ? EDWARD EVERETT, in First Settle- 
 ment of New England. 
 
 FALLING 
 
 Sir, we are not weak, if we make a proper use of those means which 
 the God of nature hath placed in our power. Three millions of people 
 armed in the holy cause of liberty, and in such a country as that which 
 we possess, are invincible by any force which our enemy can send 
 against us. Besides, sir, we shall not fight our battles alone. There is 
 a just God who presides over the destinies of nations, and who will 
 raise up friends to fight our battles for us. The battle, sir, is not to 
 the strong alone ; it is to the vigilant, the active, the brave. Besides, 
 
PITCH 91 
 
 sir, we have no election. If we were base enough to desire it, it is 
 now too late to retire from the contest. There is no retreat but in sub- 
 mission and slavery ! Our chains are forged ! Their clanking can be 
 heard on the plains of Boston ! The war is inevitable and let it 
 come ! I repeat it, sir, let it come ! PATRICK HENRY. 
 
 RISING AND FALLING 
 
 You ask what I have to say in my defense, you, who glory in the 
 name of France, who wander through the world to enrich and exalt the 
 land of your birth, you demand how I could dare to arm myself 
 against the invaders of my native rocks ? Do you confine the love of 
 home to yourselves ? Do you punish in others the actions which you 
 dignify and reward among yourselves ? Those stars which glitter on 
 your breasts, do they hang there as recompense for patient servitude ? 
 
 I see the smile of contempt which curls your lips. You say : This 
 brute, he is a ruffian, a beggar ! That patched jacket, that ragged 
 cap, that rusty belt : shall barbarians such as he close the pass 
 against us, shower rocks upon our heads, and single out our leaders 
 with unfailing aim, these grovelling mountaineers, who know not the 
 joys and brilliance of life, creeping amidst eternal snows, and snatching 
 with greedy hand their stinted ear of corn? 
 
 Yet, poor as we are, we never envied our neighbors their smiling 
 sun, their gilded palaces ; we never strayed from our peaceful huts to 
 blast the happiness of those who had not injured us. The traveler 
 who visited our valleys met every hand outstretched to welcome him ; 
 for him every hearth blazed ; with delight we listened to his tale of 
 other lands. Too happy for ambition, we were not jealous of his 
 wealth ; we have even refused to partake of it. ANDREAS HOFER. 
 
LESSON XXIII 
 
 FORCE 
 
 STRESS 
 
 THE way we exert force, and the amount of force, do not 
 take into account the location of force upon the different 
 parts of the sound or syllable, which is called stress. 
 
 There are six kinds of stress : 
 
 1. Radical, ^>. or force on the first part of the syl- 
 
 lable. 
 
 2. Final, ~=^Z^) or force on the last part of the syllable. 
 
 3. Compound, O<O or f rce on the first and last 
 
 parts of the syllable. 
 
 4. Median, <^^^> or force on the middle part of the 
 
 syllable. 
 
 5. Thorough, ( ) or force equally on all parts of 
 
 the syllable. 
 
 6. Intermittent, COCO or force applied to the syllable 
 
 tremulously, or in little jerks. 
 
 Radical stress, or force on the first part of the syllable, 
 needs no explanation. It is the stress we use in our every- 
 day conversation. In this stress we speak " with precision 
 of accent," with a " prompt stroke or attack on each im- 
 portant word used." 
 
 A good way to secure the radical stress is to strike the 
 palm of the left hand with the right fist on each syllable it 
 is desired to stress. Example : 
 
 92 
 
FORCE 93 
 
 My liege, your anger can recall your trust, 
 Annul my office, spoil me of my lands, 
 Rifle my coffers ; but my name, my deeds, 
 Are royal in a land beyond your scepter. 
 
 BULWER LYTTON, in Richelieu. 
 
 Final stress, or force upon the last part of the syllable, 
 generally signifies self-assertion, determination, resolution, 
 courage, defiance. Sometimes, however, it expresses amaze- 
 ment, horror, rebuke, scorn, hate, revenge, etc. 
 
 A good way to secure the final stress is to push into 
 the air with the right fist, in the first part of the stroke as 
 if you were pushing something away, and in the second 
 part as if that something had given away before your 
 force. Let the voice follow the motion of the hand. 
 Examples : 
 
 I will go. 
 You she? n't go. 
 
 Blaze with your serried columns ! 
 
 I will not bent the knee ! 
 The shackles ne'er again shall bind 
 
 The arm which now is free. 
 I've mailed it with the thunder, 
 
 When the tempest muttered low ; 
 And where \\. falls, ye well may dread 
 
 The lightning of its blow ! 
 
 G. W. PATTEN, in The Seminotes Reply. 
 
 Stay there, or I'll proclaim you to the house and the 
 whole street / If you try to evade me, I'll stop you, if it's 
 by the hair, and raise the very stones against you. 
 
 DICKENS. 
 
 Compound stress, or force upon the first and last parts 
 of a syllable, is a combination of radical and final stress. 
 It is used for mockery, satire, sarcasm, derision, etc., when- 
 ever " one wishes to say one thing and mean another." 
 
94 FORCE 
 
 To get this stress, make the gesture for the radical 
 stress and let the fist slip by the hand in the stroke for 
 the final. Examples : 
 
 He is a nice fellow. 
 You are a gentleman. 
 
 Actuated by the same principle of choice, he has now on the anvil 
 another scheme, full of difficulty and desperate hazard, which totally 
 alters the commercial relation of two kingdoms ; and, what end soever 
 it shall have, may bequeath a legacy of heart burning and discontent to 
 one of the countries, perhaps to both, to be perpetuated to the latest 
 posterity. This project is also undertaken with the hope of profit. It 
 is provided that, out of some (I know not what) remains of the Irish 
 hereditary revenue, a fund at some time, and of some sort, should be 
 applied to the protection of the Irish trade. 
 
 BURKE, in Arraignment of the Ministry. 
 
 EXERCISES 
 
 46. Give Ex. 13 gently in Radical, Final, and Compound Stress, 
 using the gestures appropriate to the different stresses. 
 
 47. Repeat Ex. 46 in increasing degrees of force. 
 
 NOTE. No day should be allowed to go past without practicing some 
 exercises, both in voice and action. Growth will not result if you 
 practice but once a week, and then for an hour or an hour and a half. 
 Practice for a short time only, but every day. 
 
LESSON XXIV 
 
 FORCE Continued 
 
 STRESS Continued 
 
 Median stress, or force on the middle part of the syllable, 
 gives a smooth, gentle, flowing effect. It is used in ex- 
 pressing remorse, feebleness, suppressed fear, awe, etc., and 
 in general for expressing all sad moods. 
 
 The median stress may be obtained by causing the 
 hand to pursue a wave line in the air, something like the 
 following : 
 
 Let the voice follow the line 
 
 ^^^ """^^^ and hand, giving a gentle swell 
 
 in the middle of the syllable. 
 Examples : 
 
 In one hour joy lay without a pulse, without a gleam, or breath. A 
 sorrow came that swept through the land as huge storms sweep through 
 the forest and field, rolling thunder along the sky, disheveling the 
 flowers, daunting every singer in thicket or forest, and pouring black- 
 ness and darkness across the land and up the mountains. Did ever so 
 many hearts, in so brief a time, touch two such boundless feelings ? 
 It was the uttermost of joy ; it was the uttermost of sorrow noon and 
 midnight, without a space between. 
 
 BEECHER, in The Martyr President. 
 
 Thorough stress, or force upon all parts alike, as will 
 easily be seen, is a sort of continued force, as if the force 
 were prolonged until it should take effect. It is used 
 generally for some kind of calling, such as shouting, 
 triumph, command, apostrophe, etc. 
 
 95 
 
Q6 FORCE 
 
 To secure thorough stress, a good way is to make the 
 hand and voice follow a line something like the following : 
 
 Examples : 
 
 Bid him forward, breast and back as either should be. 
 
 Strive and thrive 1 , cry " Speed" fight on, fare ever 
 
 There as here ! BROWNING. 
 
 Ho ! sound the tocsin from the tower, 
 
 Andjire the culver in ! 
 Bid each retainer arm with speed, 
 
 Call every vassal in ! 
 A. G. GREENE in The Baron's Last Banquet." 
 
 " Forward, the Light Brigade ! 
 Charge for the guns ! " he said : 
 Into the valley of Death 
 
 Rode the six hundred. TENNYSON. 
 
 Intermittent stress, or force applied to the syllable 
 tremulously, or in little jerks, is used to denote any state of 
 bodily agitation, such as shivering or trembling ; or to ex- 
 tend these to their causes, feebleness, timidity, grief, alarm, 
 terror, rage, etc. 
 
 A very good way to secure the intermittent stress is to 
 shiver all over with the cold, actually making the whole 
 body shiver. Use the sentence, " My / But it is cold ! " 
 After this has been done, drop the shivering from the 
 body, but keep the shiver in the voice. After you have 
 the stress upon the word COLD, you can easily extend it to 
 revenge, feebleness, etc. Example : 
 
 Pity the sorrows of a poor old man, 
 
 Whose trembling limbs have borne him to your door, 
 Whose days are dwindled to the shortest span ; 
 
 Oh! give relief, and Heav'n will bless your store. 
 
 THOMAS-MOSS in The Beggar. 
 

 FORCE 97 
 
 You old Tyrant! 
 
 Not know my voice ! O timers extremity, 
 
 Hast thou so cracked and splitted my poor tongue 
 
 In seven short years, that here my only son 
 
 Knows not my feeble key of untun'd cares? 
 
 Though now this grained face of mine be hid 
 
 In sap-consuming winter's drizzling snow 
 
 And all the conduits of my blood froze up, 
 
 Yet hath my night of life some memory, 
 
 My wasting lamps some fading glimmer left, 
 
 My dull deaf ears a little use to hear. 
 
 All these old witnesses I cannot err 
 
 Tell me thou art my son Antipholus. SHAKESPEARE. 
 
 Wretch, touch him again at your peril ! I will not stand by and see 
 it done. My blood is up, and I have the strength of ten such men as 
 you. By Heaven! I will not spare you, if you drive me on! I have a 
 series of personal insults to avenge, and my indignation is aggravated 
 by the cruelties practised in this cruel den. Have a care, or the conse- 
 quences will fall heavily upon your head. DICKENS. 
 
 EXERCISES 
 
 48. Give Ex. 13 in median, thorough, and intermittent stress. 
 
 49. Give Ex. 13 with each kind of stress, thinking the several senti- 
 ments clear through the list. Take sorrow, then reverence, then com- 
 mand, then calling, etc. See if some one can guess the sentiment you 
 have in mind by the way you give the exercise. 
 
 PUB. SPEAK. 7 
 
LESSON XXV 
 GESTURE. THE CLENCHED HAND 
 
 ALL students have probably noticed that when people 
 become very angry, and wish to make things very emphatic, 
 they shake their fists at one another. This fact gives rise 
 to one of the most powerful gestures that an orator can 
 use, that is, the clenched hand. 
 
 The clenched hand is formed by folding all the fingers 
 into the palm of the hand, and firmly locking them there 
 
 FlG. 43. The correct FIG. 44. A wrong form FlG. 45. A wrong form 
 
 form of the clenched of the clenched hand of the clenched hand 
 
 hand. with the thumb the thumb at the 
 
 doubled under. side of the hand. 
 
 by passing the thumb over the knuckles, generally over 
 the second joint, or knuckle, of the middle finger. (See 
 Fig. 430 
 
 CAUTION. Do not double the thumb under, as shown in 
 Figure 44. 
 
 98 
 
THE CLENCHED HAND 
 
 99 
 
 CAUTION. Do not allow the thumb to be out at the side 
 of the hand, as shown in Figure 45. 
 
 The clenched hand is used in hate, anger, revenge, de- 
 fiance, and in many cases where it is desired that some- 
 
 FIG. 46. Striking across 
 the body with the fist 
 a wrong use. 
 
 FIG. 47. The correct use 
 of the fist gesture 
 striking straight out. 
 
 thing shall be especially emphatic. It is a very strong 
 gesture, and should not be used often. 
 
 CAUTION. In the use of the Clenched Hand, do not for- 
 get the stroke. In many cases, the spring at the wrist will 
 develop into a slight rebound, but do not neglect the stroke. 
 
 CAUTION. Do not strike sidewise across the body, as 
 shown in Figure 46, but strike straight out, as in Figure 47. 
 
 Examples : 
 
 I defy you! 
 
 You are a coward ! 
 
 My lords, you cannot conquer America. What is your present situa- 
 tion there ? We do not know the- worst ; but we know that in three 
 campaigns we have done nothing and suffered much. Besides the suf- 
 fering, perhaps total loss, of the northern force, the best appointed army 
 that ever took the field, commanded by Sir William Howe, has retired 
 from the American lines. He was obliged to relinquish his attempt, 
 
100 THE CLENCHED HAND 
 
 and, with great delay and danger, to adopt a new and distant place 
 of operations. We shall soon know, and in any event have reason 
 to lament, what may have happened since. 
 
 As to the conquest, therefore, my lords, I repeat, it is impossible. 
 You may swell every expense and every effort still more extravagantly ; 
 pile and accumulate every assistance you can buy or borrow ; traffic 
 and barter with every little pitiful German prince that sells and sends 
 his subjects to the shambles of a foreign prince. Your efforts are for 
 ever vain and impotent, doubly so from this mercenary aid on which 
 you rely. For it irritates, to an incurable resentment, the minds of your 
 enemies, to overrun them with the mercenary sons of rapine and 
 plunder ; devoting them and their possessions to the rapacity of hire- 
 ling cruelty ! If I were an American, as I am an Englishman, I never 
 would lay down my arms never, never, never! 
 
 WILLIAM PITT. 
 EXERCISES 
 
 NOTE. In these exercises extend the forward foot its whole length 
 or more, keeping both feet, however, flat on the floor. When making 
 gestures to the left, have the left foot foward. 
 
 50. Give the Clenched Hand with the right hand toward the floor 
 obliquely in front of you to the right ; toward the wall ; toward the 
 ceiling. Repeat three times. 
 
 51. Repeat Ex. 50, except put the gesture in front of you. 
 
 52. Execute Ex. 50 and Ex. 51 with the left hand to the left and in 
 front of you. 
 
 53. Execute gestures with both hands clenched toward the floor 
 obliquely to the right in front, toward the wail, and toward the ceiling. 
 Do the same directly in front ; also to the left. Don't forget to change 
 feet when you make the gestures to the left. 
 
 54. Try gestures with each hand, and with both, to the following 
 counts, striking on the black figures : 
 
 1,2,3,4 5,6,7,8, 9,10,11,12, 13,14,15,16. 
 
 i, 2, 3 4, 5, 6, 7, 8 9, 10, 11, 12. 
 
 i,2, 3,4, 5,6, 7, 8. 
 
 i, 2, 3,4, i, 2,3, i, 2, i, 2, 3, 4. 
 
 Be vigorous in your counting, as if you were angry. 
 
 55. Try the Clenched Hand, with one and both hands, in all sorts of 
 positions and directions. Say aloud the words~that come to your mind 
 when you make some of these gestures. 
 
LESSON XXVI 
 
 THE SIGNIFICANCE OF POSITION 
 
 THE student has thus far known positions merely as 
 mechanical arrangements of the feet. By this time he 
 may begin to study 
 their significance. 
 
 Position A. The 
 positions described 
 in Lesson I, as al- 
 ready stated, are the 
 ordinary positions. 
 They are used for 
 narration, descrip- 
 tion, and all ordinary 
 thoughts where there 
 is no great emo- 
 tion. 
 
 Position B. - 
 When position A is 
 enlarged by step- 
 ping out farther with 
 the forward foot, 
 and allowing the 
 back heel to leave 
 
 the floor, it becomes FIG ^ Columbus . See note> p . Ic6> 
 
 stronger, and is used 
 for solicitation, entreaty, earnestness, and appeal. 
 
 In addition to these, the student may by this time feel 
 
102 
 
 THE SK/MFICANCE OF POSITION 
 
 FIG. 49. A position for dignified oratorical utterance. Tiie Niehaus statue of 
 Garfield at Cincinnati. From Lorado Taft's American Sculpture, by permission. 
 
THE SIGNIFICANCE OF POSITION 103 
 
 the need of still more emphatic positions, especially when 
 he is making gestures, and below a few are given. 
 
 Position A Major. Exactly like the position described 
 in Lesson I is another position in which the forward foot is 
 placed its full length in advance, instead of half its length. 
 See Figure 49. 
 
 NOTE. In this position, because the feet are farther apart, there is 
 a tendency to put the weight either on the front foot or the back foot. 
 The student may do either, provided he always keeps the weight more 
 on the front foot in aggressive moods. 
 
 This position may be used to denote anything bold, lofty, 
 dignified, heroic, or impassioned. 
 
 Position B Major. An enlarged form of the Position B 
 is also often used, in which the forward foot is extended 
 twice its own length instead of once its own length. When 
 the weight is on the forward foot, the front knee is bent, 
 and when the weight is on the back foot, the back knee 
 is bent. The weight may be on either foot. See Figs. 
 50 and 5 1 for valuable studies in this and other positions. 
 
 This position, when the weight is on the forward foot, is 
 used for courage, defiance, aggression, and strength. When 
 the weight is on the back foot, it signifies awe, fear, dread, 
 amazement, terror, etc. Examples : 
 
 POSITION FOR APPEAL OR WELCOME 
 
 Oh, save me, Hubert, save me ! my eyes are out, 
 Even with the fierce looks of these bloody^men. 
 
 SHAKESPEARE. 
 Welcome, Cassius ! Welcome, friends ! 
 
 SHAKESPEARE. 
 
 POSITION FOR DEFIANCE 
 
 Here I stand for impeachment or accusation. I dare accusation. 
 
 GRATTAN. 
 
IO4 
 
 THE SIGNIFICANCE OF POSITION 
 
 FlG. 50. A study in position. A scene in Monsieur Beaucaii e. 
 
 FIG. 51. A study in averse gesture. A scene in Leah Kleshna. 
 
THE SIGNIFICANCE OF POSITION 105 
 
 Go home, if you dare, go home, if you can, to your constituents 
 and tell them that you voted it down. CLAY. 
 
 VERY AGGRESSIVE POSITION, FORWARD 
 
 The right honorable gentleman has called me "an unimpeached 
 traitor." I ask why not traitor, unqualified by any epithet ! I will tell 
 him ! It was because he durst not ! It was the act of a coward who 
 raises his arm to strike, but has not the courage to give the blow. 
 
 GRATTAN. 
 Brutus. And let me tell you, Cassius, 
 
 You yourself are much condemned to have an itching palm, 
 To sell and mart your offices for gold to undeservers. 
 Cassius. I an itching palm! 
 
 You know that you are Brutus that speak this. 
 Brutus. The name of Cassius honors this corruption, 
 
 And chastisement doth therefore hide his head. 
 Cassius. Chastisement ! SHAKESPEARE. 
 
 SHRINKING POSITION, BACKWARD 
 
 O, look ! methinks I see my cousin's ghost 
 Seeking out Romeo, that did spit his body 
 Upon a rapier's point. SHAKESPEARE. 
 
 EXERCISES 
 
 56. Take the following positions in order : 
 
 Position A, with the right foot forward. 
 Position A, with the left foot forward. 
 Position B, with the right foot forward. 
 Position B, with the left foot forward. 
 Position B Major, forward, to the right. 
 Position B Major, forward, to the left. 
 
 57. Take the following in order : 
 
 Position A, with the right foot forward. 
 Position A, with the left foot forward. 
 Position A Major, with the right foot forward. 
 Position A Major, with the left foot forward. 
 
106 THE SIGNIFICANCE OF POSITION 
 
 58. Take the following in order : 
 
 Position A, with the right foot forward. 
 Position B Major, forward, to the right. 
 Position B Major, backward, to the left. 
 
 Repeat the last two rapidly one after the other. Use the opposite 
 positions also. 
 
 59. Take the following in order : 
 
 Position A, with the right foot forward. 
 Position B Major, forward, to the right. 
 
 Repeat this, stamping with the forward foot and imitating a sword 
 thrust. Use the opposite positions also. 
 
 60. Repeat Ex. 59, using the sword thrust on the forward foot, and 
 the hands spread, as if in terror, on the back foot. 
 
 Note on Fig. 48, p. 103. The Bartlett statue of Columbus. From 
 Lorado TafVs American Sculpture, by permission. Mr. Taft says of 
 this statue, " It shows us the discoverer in a new light ; no longer the 
 gentle dreamer, the eloquent pleader, the enthusiast, nor yet the silent 
 victim in chains, but a hero of might and confidence hurling proud 
 defiance at his calumniators." 
 
LESSON XXVII 
 
 PITCH 
 
 THE SLIDE 
 
 Now that the student has noticed the upward and 
 downward slides of the voice, it may be well to give a few 
 simple cases of their use. 
 
 As a general rule, it may be stated that the Rising Slide 
 accompanies all incomplete mental states, while the Fall- 
 ing Slide accompanies completed ones. 
 
 SPECIAL CASES 
 
 CASE I. Where one's mind is not quite made up in 
 regard to something, the voice often takes a rising slide. 
 
 I think I shall go. 
 Well, let me see. 
 
 CASE II. All clauses and expressions in sentences 
 where the thought is not complete without something that 
 follows take the rising slide. 
 
 The instructive lesson of history, teaching by example, can nowhere 
 
 be studied with more profit, or better promise, than in this Revolution- 
 ary period of America. SPARKS. 
 
 In every enlightened age, eloquence has been a controlling factor 
 in human affairs. STANTON. 
 
 Sans teeth, sans eyes, sans taste, sans everything. SHAKESPEARE. 
 
 CASE III. Surprise, implying "Is it so?" takes the 
 rising slide. 
 
 107 
 
IOS PITCH 
 
 Let them out ! No ! 
 You ! Where in the world did you come from ? 
 
 NOTE. When the question has left the mind, and one is fully settled 
 that it is " You," then the slide will take the other direction. 
 
 CASE IV. Questions that can be answered by "Yes" 
 or " No " take the rising slide. 
 
 Are you going ? 
 Is he there ? 
 You are to be there ? 
 He is a soldier? 
 
 NOTE. When it is desired to make a question very emphatic, the 
 rising slide may be given on all the principal syllables. Example : 
 
 Me^ there, in the dark prison ? 
 
 CASE V. The names of persons addressed, if some- 
 thing more is immediately to follow, take the rising slide. 
 
 John, come here. 
 
 Fellow Citizens, I am here this evening, etc. 
 
 CAUTION. Rules are treacherous things. In all cases 
 get back to life and the real thought intended. "How 
 would this person have said this under these circum- 
 stances?" and u What do I really mean?" are good 
 questions to ask yourself. They will generally determine 
 the inflection correctly. 
 
 EXERCISES 
 
 61. Give the word hurrah with a curve of voice something like the 
 following : 
 
 Repeat several times, making the slide very plain. 
 

 PITCH lOQ 
 
 62. Give the words " Oh V Is it you ? " with a course of voice some- 
 thing like this. 
 
 Repeat several times. 
 
 63. Commence the following at lowest pitch, giving to each word a 
 short rising slide on each successively higher pitch ; aim at smoothness, 
 and gradually increase the length of inflections : 
 
 breath ? 
 fleeting 
 the 
 call 
 
 mansion 
 its 
 to 
 
 back 
 bust 
 
 animated 
 or 
 urn 
 
 storied 
 Can 
 
 64. Repeat the following with falling slides : 
 Can 
 
 honor's 
 
 voice 
 
 provoke 
 
 the 
 silent 
 
 dust 
 or 
 
 flattery 
 
 soothe 
 
 the 
 dull 
 cold 
 ear 
 of 
 death ? 
 
LESSON XXVIII 
 PITCH Continued 
 
 THE SLIDE Continued 
 
 IN the last lesson, it was learned that the falling slide 
 is used to denote completed mental states. Below are given 
 a few simple cases. 
 
 CASE I. The end of a sentence, when the thought is 
 complete, takes the falling slide. 
 
 He hath done good service, lady, in these wars. 
 
 CASE II. Clauses, phrases, and words, when occurring 
 in a series, may be made more emphatic by giving each the 
 falling slide : 
 
 Clauses ; 
 
 They have discovered that political equality does not result in social 
 fraternity ; that under a democracy the concentration of greater political 
 power in fewer hands, the accumulation and aggregation of greater 
 amounts of wealth in individuals, are more possible than under a mon- 
 archy ; and that there is a tyranny more fatal than the tyranny of kings. 
 
 J. J. INGALLS. 
 
 Phrases ; 
 
 To elevate the morals of our people ; to hold up the law as that 
 sacred thing, which, like the ark of God of old, cannot be touched by 
 irreverent hands ; to frown upon every attempt to displace its_supremacy ; 
 and to unite our people in all that makes home pure and honorable, as 
 well as to give our energies to the material advancement of the country : 
 these services we may render every day. BENJAMIN HARRISON. 
 
 Words: 
 
 The application of steam to locomotion o land and sea, the cotton 
 gin, electric illumination and telegraphy, the cylinder printing press, the 
 
PITCH 1 1 i 
 
 sewing machine, the photographic art, tubular and suspension brklges, 
 the telephone, the spectroscope, and the myriad forms of new applica- 
 tions of science to health and domestic comfort, to the arts of peace and 
 war, have alone rendered democracy possible. J. J. INGALLS. 
 
 CASE III. Questions that cannot be answered by 
 " Yes " or " No " take the falling slide. 
 
 Who were there? 
 
 I pray you, who is he? 
 
 Why do you go away ? 
 
 CASE IV. Exclamations and commands take the fall- 
 ing slide. 
 
 Farewell, sweet child, farewell ! MACAULAY. 
 
 Oh ! the side glance of that detested eye ! 
 
 That conscious smile ! that full insulting lip ! 
 
 It touches every nerve ; it makes me mad ! BAILLIE. 
 
 Then, sing ye birds, sing, sing a joyous song! 
 
 And let the young lambs bound 
 
 As to the tabor's sound! 
 
 We in thought will join your throng, 
 
 Ye that pipe and ye that play, 
 
 Ye that through your hearts to-day 
 
 Feel the gladness of the May ! WORDSWORTH. 
 
 EXERCISES 
 
 65. Practice the following with strong inflection and volume: 
 
 Ship ahoy! 
 
 Forward the light brigade! 
 Charge, Chester, charge! 
 On, Stanley, on! 
 
 The foe! They come! They come ! 
 To arms ! They come ! The Greek ! The Greek ! 
 
 66. Extend the arms horizontally in front ; rotate the hands from 
 the wrists without moving the fingers. First start the hands inward 
 and after eight counts reverse them. 
 
LESSON XXIX. 
 
 PLANES OF GESTURE 
 
 IN watching a skillful orator, one notices that on certain 
 
 sentiments his gestures seek a 
 
 high plane, while on certain 
 others they seek a low plane. 
 When should a gesture be made 
 upward, and when downward? 
 This is governed by definite laws, 
 which are given below. 
 
 All the different gestures, rang- 
 ing from that of the hand point- 
 ing straight upward to that of the 
 hand pointing straight downward, 
 may be divided into three zones, 
 or planes : The upper zone or 
 plane, the middle zone or plane and 
 the lower zone or plane. These 
 occupy each about one third the 
 distance covered, the middle zone, 
 perhaps, being a little narrower 
 than the other two. 
 
 The upper zone is used to de- 
 note things that are joyous, hopeful, triumphant, patriotic, 
 poetical, spiritual, etc. Examples : 
 
 God bless our country's flag ! And God be with us, now and ever, 
 God in the roof tree's shade and God on the highway, God in the wind 
 and waves, and God in all our hearts ! HENRY WATTERSON. 
 
 FIG. 52. The planes of gesture. 
 
PLANES OF GESTURE 113 
 
 While the Union lasts, we have high, exciting, gratifying prospects 
 spread out before us, for us and our children. Beyond that I seek 
 not to penetrate the veil. God grant that, in m'y day, at least, that 
 curtain may not rise! God grant that on my vision never may be 
 opened what lies' behind ! When my eyes shall be turned to behold, 
 for the last time, the sun in heaven, may I not see him shining on the 
 broken and dishonored fragments of a once glorious Union ; on States 
 dissevered, discordant, belligerent ; on a land rent with civil feuds, or 
 drenched, it may be, with fraternal blood ! Let their last feeble and linger- 
 ing glance rather behold the gorgeous ensign of the Republic, now 
 known and honored throughout the earth, still full high advanced, its 
 arms and trophies streaming in their original luster, not a stripe erased 
 or polluted, nor a single star obscured; bearing for its motto, no such 
 miserable interrogatory as, "What is all this worth? " nor those other 
 words of delusion and folly, " Liberty first, and Union afterwards " ; 
 but everywhere, spread all over in characters of living light, blazing on 
 all its ample folds, as they float over the sea and over the land, and in 
 every wind under the whole heavens, that other sentiment, dear to 
 every true American heart, " Liberty and Union, now and forever, one 
 and inseparable ! " WEBSTER. 
 
 The middle zone is used for narration, description, address, 
 welcome, command, conciliation, etc. It is the zone most 
 generally used for all the relations that a man bears to 
 his fellow-men. Examples : 
 
 The time is come, the tyrant points his eager hand this way ; 
 
 See how his eyes gloat on thy grief, like a kite's upon the prey; 
 
 With all his wit, he little deems that, spurned, betrayed, bereft, 
 
 Thy father hath, in his despair, one fearful refuge left ; 
 
 He little deems that in this hand, I clutch what still can save 
 
 Thy gentle youth from taunts and blows, the portion of the slave ; 
 
 Yes, and from nameless evil, that passeth taunt and blow, 
 
 Foul outrage, which thou knowest not, which thou shalt never know. 
 
 Then clasp me round the neck once more, and give me one more kiss ; 
 
 And now, my own dear little girl, there is no way but this! 
 
 B MACAULAY. 
 
 " Halt ! " the dust-brown ranks stood fast ; 
 
 " Fire! " out blazed the rifle blast. WHITTIER. 
 
 PUB. SPEAK. 8 
 
114 PLANES OF GESTURE 
 
 Within our own territory, stretching through many degrees of latitude 
 and longitude, we have the choice of many products and many means of 
 independence. The government is mild. The press is free. Religion 
 is free. Knowledge reaches or may reach every home. What fairer 
 prospect of success could be presented? What means more adequate 
 to accomplish the sublime end? STORY. 
 
 The lower zone or plane, is used for things emphatic, force- 
 ful, determined ; also for gloom, doubt, hate, revenge, 
 murder, etc. Examples : 
 
 I loathe ye in my bosom, 
 
 I scorn ye with mine eye, 
 And Til taunt ye with my latest breath, 
 
 And fight ye till I die ! PATTEN. 
 
 But you, wretch ! you could creep through the world unaffected by 
 its various disgraces, its ineffable miseries, its constantly accumulating 
 masses of crime and sorrow ; you could live and enjoy yourself while 
 the noble minded were betrayed, while the nameless and birthless 
 villains trod on the neck of the brave and long-descended : you could 
 enjoy yourself like a butcher's dog in the shambles, fattening on gar- 
 bage, while the slaughter of the brave went on around you ! This en- 
 joyment you shall not live to partake of : you shall die, base dog ! 
 and that before yon cloud has passed o.ver the sun ! 
 
 EXERCISES 
 
 67. Give the following sentences with gestures in the proper planes. 
 
 He generously extended the arm of power to ward off the blow. 
 
 Thou tempting fiend, avaunt! 
 
 I repel the base insinuation! 
 
 Aspire to the highest and noblest sentiments. 
 
 Prevail in the cause that is dearer than life, 
 
 Or be crushed in its ruins to die. 
 
 68. Execute the hand with the palm down, the hand with the palm 
 up, and the clenched hand, singly with each hand, and then with both 
 hands, in all the zones, obliquely to the right, in front, and obliquely to 
 the left. Write out the sentiments that occur when you do this, and 
 bring them to class. You may give the words^if you prefer them to the 
 sentiments. Tell where each gesture was made for each set of words. 
 
LESSON XXX 
 SPEECH MELODY 
 
 IT must be evident to the student, from what has gone 
 before, that the voice in speaking is continually taking 
 steps and slides up and down, in various combinations. 
 This is called the Melody of Speech. Two combinations 
 of the slides are given below. 
 
 Contrasts. Wherever there are two terms contrasted, 
 the first takes the rising slide, and the second the falling 
 slide. If there is a choice given between three, the first 
 two take the rising and the last the falling. Examples : 
 
 Sink or swim, live or die, survive or perish, I give my hand and heart 
 to this vote. WEBSTER. 
 
 Will you go to the theater, to the party, or to the beach ? 
 
 Interrupted quotation. Often such phrases as " he 
 said," or " said he with embarrassment," etc., interrupt a 
 quotation. In such cases let the slides of the interrupting 
 words have the same direction as that on the last preceding 
 word of the quotation. Of course the slides need not be 
 as long. Examples : 
 
 " Now, Fred," said the trapp~eir, " the time is sartinly come for us to 
 show the grit that's in us." 
 
 "Ho a w far behind is John Norton? " said the man on the wharf. 
 
 GENERAL LAW OF MELODY 
 
 | Many more laws for the use of the steps and slides could 
 be given, but usually the mind of the student will determine 
 
 "5 
 
SPEECH MELODY 
 
 s 
 
 8 I 
 
 2 S 
 
 S 
 
 S S 
 
 g S 
 
SPEECH MELODY 1 1/ 
 
 each case rightly without further rules. The following 
 general law may be found of use. The -voice descends on 
 the relatively unimportant parts of a sentence to make the 
 strong rising slides, and ascends on the relatively unimpor- 
 tant parts to make the strong falling slides. 
 
 CAUTION. No matter how great the temptation, never 
 allow the voice to rise and fall merely for the sake of the 
 sound. The thought should always govern the melody. 
 
 NOTE I. It sometimes happens that a word has the rising and 
 falling slides combined, so as to form a kind of wave. This may either 
 
 be a wave upward ( x* "x)? or a wave downward (x^__^X) In 
 
 some cases, even, more than one wave is found ( '^\^J)> or 
 ( V^_/^^ ) Examples of a few such waves are seen in Figure 52. 
 
 NOTE 2. Often, too, a slide is started downward, but as it nears its 
 end, the next thought comes to the mind, and the end of the slide is 
 turned back up. Or the opposite may take place, and a slide started up 
 may be turned down at the end. These cases often occur at the close 
 of clauses in a sentence. 
 
 EXAMPLES OF MELODY * 
 
 NOTE. To save space, the selections will be given first, and after- 
 wards their melody, indicated by short lines for the steps and long 
 lines for the slides. It will be a saving of the pupil's time if the same 
 method is used in class. It has the advantage, too, of showing plainly 
 whether a slide or a step is meant, which cannot be done when the 
 words themselves are arranged. Be sure to get a line for each syllable, 
 or there will be a great deal of confusion when you come to read your 
 melody. 
 
 He has done the murder: no eye has seen him, no ear has heard 
 him. The secret is his own, and it is safe. Ah, Gentlemen, that was a 
 dreadful mistake. Such a secret can be safe nowhere. The whole 
 creation of God has neither nook nor corner where the guilty can bestow 
 it, and say it is safe. WEBSTER. 
 
 * See footnote at the bottom of page 84. 
 
SPEECH MELODY 
 
 The day is done, and the darkness 
 Falls from the wings of Night 
 
 As a feather is wafted downward 
 From an eagle in his flight. 
 
 
 Still at the bayonet's point he stood, and strong to meet the blow : 
 And shouted, 'midst his rushing blood, " Arm ! Arm ! Auvergne ! 
 
 The foe!" 
 
 The stir, the tramp, the bugle call, he heard their tumult grow : 
 And sent his dying voice through all, " AuveTgne ! Auvergne ! The 
 
 foe! The foe! 11 
 
SPEECH MELODY 
 
 119 
 
 EXERCISES IN WRITING MELODY 
 
 1. Write out the melody for one of your high school 
 yells. 
 
 2. Write out the melody for some two stanzas of a poem 
 that you know or can get out of a book. 
 
 3. Write out the melody for some one of the oratorical 
 extracts found in this book. 
 
 To THE TEACHER. It might be well to have one student write 
 out on the blackboard the melody for a stanza, and then have some other 
 student read it as written. 
 
 My an-ces-tors, ha-ving ar-rived in this coun-try a-mong the ear-ly sett-lers 
 
 
 
 
 
 
 
 1 -\ 1 
 
 
 
 
 M 51 
 
 on the one side in New York on the oth-er in NewEng-Iand, and ha-ving fall-en in 
 
 
 love, and mar-ried in the old fash-ioned way, 
 
 FlG. 54. Musical notation of Figure 55. 
 
120 
 
 SPEECH MELODY 
 
 T T I 
 
 N o 
 
 8 
 
 
 S 8 g 
 
 I 7 I 
 
 S 
 
 ^ <0 
 
 \ 
 
 s 
 
 c 
 
 .1. 
 
 g g 
 T T I 
 
 
 I I I 
 
 s g 
 
 
 S SoS S 
 
SPEECH MELODY 
 
 121 
 
 * 
 
 \ \ \ \ \ 
 
 O O o O O 
 
 10 10 o 10 10 
 
 I? 
 5 M . 
 
 Lf 
 
 *la 
 
 ^ g 
 - 2 
 
122 SPEECH MELODY 
 
 Prof. Scripture in describing the speech melody repre- 
 sented in Fig. 55 says : 
 
 " We note that in the first phrase the melody rises somewhat sud- 
 denly at the start according to the typical convex form of the American 
 sentence. Instead, however, of completing the convexity it suddenly 
 rises at the end. The average tone is rather low. . . . The evenness 
 of the melody gives it solemnity, the steady rise through the phrase gives 
 it pomposity, the sudden rise at the end makes it somewhat brusque 
 and challenging. . . . 
 
 " In the fifth phrase the melody is of a different kind. There is more 
 flexibility and the convexity is completed by a low fall. In the sixth 
 phrase there are four strong subordinate convexities for the four em- 
 phatic units, ' married, 1 'old,' ' fashioned, 1 k way.' These are fused to a 
 phrase with very flexible melody. The phrase ends with a fall in 
 melody and a pause, although it needs the words < without regard to 
 race or creed ' to complete it. These last two phrases are in contrast to 
 the first four. The evenness is replaced by great flexibility, the rise at 
 the end is replaced by an exaggerated fall. 
 
 " The entire effect of such a melody is distinctly humorous an ef- 
 fect that is increased by the very low tones employed, especially at the 
 end (going as low as nearly 50 vibrations a second). It is a common 
 device of humor to imitate solemnity in its chief traits and to change one 
 of them into an inconsistency. Here the effect is that of a staid humor 
 of a mild degree. . . . Throughout the record the melody is one that 
 is appropriate to the ceremonial oration, with a constant humorous twist 
 to it. The unusually long pauses between the phrases, with the low 
 and monotonous pitch, aid in the ceremonious expression." 
 
LESSON XXXI 
 FAULTS IN SPEECH MELODY 
 
 As the skillful opera singer excels the unpracticed 
 vocalist in his execution of melody, so the person that has 
 had training in speech melody will excel the one who has 
 not, and for the benefit of the student a few of the common 
 faults in speech melody are set down below. 
 
 Before giving these, however, it may be well to state 
 the general truth, that every speech note is a slide, that it 
 passes from one degree of pitch to another without being 
 held appreciably at any fioint. This does not at all conflict 
 with what has been said about steps, for, in taking steps, 
 the voice simply stops one note (which is a slide, of 
 course) and starts in at a new place to make another note 
 (which is also a slide). The slides mentioned in previous 
 lessons are merely the important slides, and it must be 
 understood that every speech note is in reality a slide. 
 
 Do not confuse song notes and speech notes. With the 
 foregoing truth in mind, the student is now cautioned 
 against the use of song notes in speech. In a large room, 
 or sometimes in a small one, there is a tendency to pro- 
 long a word or syllable on one plane of pitch, giving a 
 sort of calling effect. This turns the speech note into a 
 song note, for this is just the difference between song and 
 speech : Song stays on one degree of pitch, on one note, 
 while speech must be going either up or down, and does not 
 stay in one place. The best way to avoid song notes in 
 speech is to talk to one of the front seats just as you 
 would talk to a friend ; then, keeping the same slides, talk 
 
 123 
 
124 FAULTS IN SPEECH MELODY 
 
 to the back seats. "Tell it to the audience." Don't say 
 words, but TELL them what you have to say ; GET THE 
 THOUGHT to them. 
 
 Do not use too narrow a range of melody. One of the 
 most common faults among young speakers, and yet one 
 which can be easily remedied, is that of using too narrow 
 a range of melody. Some students rarely use over three 
 or four notes. Enlarge the range of melody. Remember 
 that a speech to a thousand people is a speech to a few, 
 greatly magnified. Just as you write a small hand on a 
 sheet of writing paper, but write a large hand on the 
 blackboard, so you can use a small range in talking to a 
 small audience, but you must use a wide range in talking 
 to a large audience. Go high and low in placing your 
 words. Place your emphatic words higher up and make 
 your slides longer. 
 
 Do not use the semitone, except for sadness, pity, etc. - 
 Every student knows that on the piano, and in singing, we 
 have whole tones, or steps, and half tones. For instance, 
 it is a full step from c to d, and only a half step from c to 
 c-sJiarp. These same half tones exist in speech. Their 
 use, however, should be confined to things pathetic, sad, 
 plaintive, etc. They are used in complaining, crying, etc., 
 but should not be introduced in ordinary speech. Often, 
 however, especially in the lower grades of the high school, 
 whole passages, even of the most positive utterance, will 
 be given with this semitone. The student can easily get 
 the semitone by giving the sentence, " Are you sick, poor 
 fellow?" with a voice full of pity. On the word sick will 
 occur a good example of the semitone. Now give the 
 same sentence without any feeling at all. At once the 
 difference will be apparent. The way to avoid the semi- 
 tone is to be more positive, to come~clear down on yoiir 
 slides, to settle the thing. 
 
FAULTS IN SPEECH MELODY 
 
 125 
 
 Do not drop the last note, or the last few notes, too ab- 
 ruptly at the end of the sentence. This is quite a common 
 fault, especially with those who have a tendency to spas- 
 modic emphasis. For instance, in the sentence " I will not 
 speak to him," the last two words might be dropped so 
 suddenly that the audience would be unable to catch them. 
 A few sentences to illustrate this fault are given below. 
 
 This explained all. The Emperor had demonstrated his right to be 
 called the Royal Bowman of the world. 
 
 A better melody would be 
 
 Do not jrun out of the compass of your voice. When a 
 long word comes at the end of a sentence there is often 
 a tendency not to start high enough, thus throwing the 
 last syllable too low for a good tone, so that instead of 
 being a tone at all, it is a mere whisper. If the dotted line 
 given below were to represent the lower limit of your com- 
 pass, you can at once see that it would be very easy to 
 throw the last syllable of artistically out of pitch. 
 
 She sang very artistically. 
 
126 FAULTS IN SPEECH MELODY 
 
 The remedy would lie in starting the word higher, as, 
 
 Do not allow the voice to rise at the end of the downward 
 slide at the close of a sentence. This fault results very 
 often from the preceding one. Finding that the last word 
 is started too low for a good note, the speaker puts the 
 last part of it, or sometimes the whole last note, higher, 
 thus sacrificing meaning for the sake of tone. Avoid this. 
 Examples are given below. 
 
 There are many reasons which make a good and thorough battle 
 necessary. The Southern men are infatuated. They will not have 
 peace. 
 
 Better would be : 
 
 Do not give a falling slide where the thought is not com- 
 plete. This is really not an elocutionary fault, but a 
 logical one. The student more 'often does not see the 
 meaning than sees the meaning and does not give the cor- 
 
FAULTS IN SPEECH MELODY 
 
 127 
 
 rect inflection. To correct this fault, it is generally suf- 
 ficient to -show that the thought is not complete at this 
 particular place, but that at some point farther on it is com- 
 plete. The fault is most prevalent in the case of poetry 
 where the thought is not complete at the end of a line. 
 Example : 
 
 Even as he spake, his frame, renewed 
 In eloquence of attitude, 
 Rose, as it seemed, a shoulder higher ; 
 Then swept his kindling glance of fire 
 From startled pew to breathless choir ; 
 When suddenly his mantle wide 
 His hands impatient flung aside. 
 
 WRONG 
 
 RIGHT 
 
128 
 
 FAULTS IN SPEECH MELODY 
 
 EXERCISES 
 
 69. Give the following, beginning on high pitch and gradually mov- 
 ing downward. 
 
 (a) Ah, me ! Ah, me ! Those days ! Those days ! 
 () How the signboard creaks all day long. 
 (c) All gloom, all silence, all despair. 
 
 FULTON and TRUEBLOOD. 
 
 70. Give the following with continually falling melody: 
 
 The eye of Heaven penetrates the darkest chambers of the soul. 
 How dare you tread upon the earth which has drunk in the blood of 
 slaughtered innocents ? 
 
 71. Extend the hands, with the palms down, on the right, obliquely 
 
 FlG. 56. Nearing the stroke in Ex. 69. FIG. 57. After the stroke in Ex. 69. 
 
 toward the ceiling, standing with the right foot forward and the left 
 heel raised slightly from the floor. Now, swaying the hands down in 
 a curved line, elevate them to a corresponding position on the left, 
 striking at the end of the movement, and bringing the left foot forward 
 as you sway your hands across. Sway them_J}ack to the right again, 
 ending with a stroke. Repeat eight times. See Figures 56 and 57. 
 
FAULTS IN SPEECH MELODY 
 
 L()l^ 
 
 129 
 
 72. With the right hand describe a horizontal figure eight in front 
 of the body, letting the wrist lead both going and coming. Repeat 
 eight times. T)o the same with the left hand. Repeat with both 
 hands, first letting one go above, then the other. 
 
 PUB. SPEAK. 9 
 
LESSON XXXII 
 SOURCES OF POWER IN SPEECH MELODY 
 
 A PLEASING melody will probably do as much toward 
 attracting and holding an audience as any accomplishment 
 the orator can have. Below are given a few sources of 
 power in its use. 
 
 Use the monotone for grandeur, sublimity, solemnity, 
 and kindred emotions. Where the different speech notes 
 axe given along on one line of pitch, although some may be 
 rising slides and some falling, the melody is said to be the 
 Melody of Monotone. This kind of melody will be found 
 very effective for the emotions of solemnity, grandeur, de- 
 votion, sublimity, awe, dread, terror, etc. Examples : 
 
 O Thou Eternal One, whose presence bright 
 All space doth occupy, all motion guide, etc. 
 
 Use the semitone for sadness, pity, etc. This direc- 
 tion will need no explanation. Read the caution against 
 the use of the semitone in the preceding lesson. Do not 
 overdo the matter; this is a powerful agent, and should 
 not be abused. Example : 
 
 Alas ! Alas ! I know not ; friend and foe fall together. 
 
 NOTE. There is no good way of indicating the semitone. It is 
 necessary to secure a good example, such as that given in the preceding 
 lesson, and then apply the effect to all cases where its use would be 
 proper. 
 
 130 
 
SOURCES OF POWER IN SPEECH MELODY 131 
 
 Use more than ordinary slides and steps for surprise, 
 delight, defiance, etc. A slide of five, notes, or even 
 more, can be used for the emotions just named. In cases 
 of extreme surprise, intense fear, impassioned exclamation 
 and interrogation, a slide or step of a whole octave may be 
 used. Example : 
 
 L. Capulet. Alack the day I she's dead, she's dead, she's dead! 
 Cap. Ha! Let me see her. 
 
 Othello. Avaunt! Be gone! Thou hast set me on the rack. 
 
 EXERCISES 
 
 73. Combine the following consonants with the vowel sounds given 
 in Ex. 13 : bl, br, pi, pr, dr, dw, tr, th, tw, fl, fr, gl, gr, kr, kl, sin, sn, 
 sp, squ, sk, sh, st, siv, ch, wh. Use both song notes and speech notes. 
 Use both rising and falling slides, and waves. 
 
 74. Give the following words with strong articulation : 
 
 black, brink, plan, pray, 
 drench, dwell, train, there, 
 tweak, flow, fry, glare, 
 gray, cloud, small, snare, 
 spare, squeak, scoot, shun, 
 stay, swell, church, where. 
 
132 SOURCES OF POWER IN SPEECH MELODY 
 
 75. Repeat the following sentences using the monotone or semitone 
 as the case demands. 
 
 Holy, holy, holy! Lord God Almighty! 
 
 Bless the Lord, O my soul ; and all that is within me, bless his holy 
 name ! 
 
 Thy sad, sweet hymn, at eve, the seas along, 
 Oh, the deep soul it breathed! 
 Must I then leave you? Must I needs forego 
 So good, so noble, and so true a master? 
 
 76. Give the following sentences, using more than ordinary slides of 
 the voice. 
 
 Be gone ! Run to your houses ! 
 
 Is it come to this ? 
 
 Hath a dog money? 
 
 Did they not rally to battle, as men flock to a feast? 
 
 You look pale, and gaze! 
 
 Ye gods, it doth amaze me! 
 
LESSON XXXIII 
 
 GESTURE. THE DRAMATIC HANDS 
 
 THOUGH not used so much in oratory as in dramatic work, 
 what are known as the clasped, averse, and reflex hands 
 are important to every student of public speech. 
 
 CLASPED 
 
 The position with clasped hands needs no description. 
 It is but necessary to say that the fingers may be inter- 
 
 FlG. 58. The hands 
 clasped and extended. 
 
 FlG. 59. The hands clasped 
 and brought to chest. 
 
 locked, or not, as the taste dictates. Usually, however, the 
 position is stronger and more earnest when the fingers are 
 interlocked. The conventional position of having the 
 hands vertical and the tips of the fingers and the thumbs 
 together may sometimes be used. See Figs. 59, 60, 61, 
 and 62. 
 
134 
 
 GESTURE. THE DRAMATIC HANDS 
 
 FlG. 60. The hands 
 clasped and fingers 
 interlocked. 
 The character " John 
 Storm "in The Christian. 
 
 The clasped hand is used for 
 prayer, supplication, entreaty, adoration, 
 etc. The hands are wrung in anguish, 
 and remorse. Examples : 
 
 Portia. And upon my knees, 
 
 I charge you, by my once commended beauty, 
 By all your vows of love, and that great vow 
 Which did incorporate us and make us one, 
 That you unfold to me, yourself, your half, 
 Why you are heavy, and what men to-night 
 Have had resort to you ; for here have been 
 Some six or seven, who did hide their faces 
 Even from Darkness. SHAKESPEARE. 
 
 Juliet. Ah me! what news ? why dost thou 
 
 wring thy hands? 
 Nurse. Ah, well-a-day ! He's dead, he's 
 
 dead, he's dead ! 
 
 We are undone, lady, we are undone ! 
 Alack the day ! He's gone, he's 
 killed, he's dead ! 
 
 SHAKESPEARE. 
 
 Eliza recognized the face and voice of a man 
 who owned a farm not far from her old home. 
 " Oh, Mr. Symmes ! save me, do save 
 me, do hide me! " said Eliza. 
 
 MRS. STOWE. 
 
 AVERSE 
 
 It is human nature to thrust away 
 those things that are unpleasant 
 and ugly. The hand used for this is 
 called the averse hand. The palm 
 is extended toward the object of dis- 
 pleasure and the hand makes as if to- 
 
 k 9 t 
 
 thrust it away. This hand is very 
 
 . 61. The conventional 
 
 form of clasped hands. 
 
GESTURE.. THE DRAMATIC HANDS 
 
 135 
 
 similar to the ordinary hand with the palm down ; in fact, 
 if the angle between the forearm and the hand is increased, 
 and the fingers somewhat spread, the position is a very 
 good averse. 
 
 With the thrusting away motion of the hand goes a 
 turning of the head away. At the beginning of an averse 
 gesture you look at the object and your hand comes up in 
 
 FlG. 62. The beginning of 
 the averse gesture. 
 
 FIG. 63. The end of the 
 averse gesture. 
 
 front of your chest ; then when the thrust is made, the head 
 is turned away. 
 
 The averse hand is used in denial, aversion, repul- 
 sion, and loathing. If the angle between the hand and the 
 forearm is only slight, it stands for admonition or reproof. 
 If the fingers are spread, it signifies amazement, intense 
 fear, terror, horror, etc. Examples : 
 Othello. A vaunt! Be gone! Thou hast set me on the rack! 
 
 I swear 'tis better to be much abused 
 
 Than but to know't a little. 
 
 O Horror! Tis he! 
 
 Give appropriate gestures for the following : 
 
 Avaunt! and quit my sight! Let the earth hide theet 
 Go, go, thou selfish and ungrateful child. 
 
136 
 
 GESTURE. THE DRAMATIC HANDS 
 
 Gitche Manitou, the Mighty! 
 Give thy children food, O Father ! 
 Give us food, or we must perish! 
 Give us food for Minnehaha, 
 For my dying Minnehaha! 
 
 REFLEX HAND 
 
 Also belonging more especially to dramatic work than 
 to oratory is the reflex hand. This is simply the ordi- 
 
 FlG. 64. The reflex hand 
 brought to the head. 
 
 FIG. 65. The reflex hand 
 brought to the chest. 
 
 nary hand with the palm up, brought back to and touch- 
 ing self. It may return to any part of the body, and its 
 significance differs with the part of the body to which it 
 returns. 
 
 For the purpose of explaining this gesture, it may be 
 said that the head represents man's mental nature, and that 
 the chest represents his emotional nature. The chest is 
 further divided into the tipper and lower chest. 
 
 The upper chest is the seat of honor, conscience, self- 
 respect, patriotism, etc. 
 
 The lower chest is the seat of \hz,- affections and deeper 
 emotions. 
 
GESTURE. THE DRAMATIC HANDS 
 
 137 
 
 FIG. 66. The reflex hand 
 with crooked fingers. 
 
 With these statements in mind, we can see that the 
 hand reflex to the head would denote concentration or reflec- 
 tion (see Fig. 64), and that when 
 brought to the chest it would have 
 different meanings according to the 
 zone to which it was brought. 
 
 In case of pain, the reflex hand 
 may seek almost any part of the 
 body. When the fingers are bent, 
 and the thumb crooked, it may de- 
 note agony, convulsion, despair, etc. 
 (See Fig. 66.) Examples : 
 
 Mercutio. I am hurt : 
 
 A plague o' both your houses! I am sped. 
 Is he gone, and hath nothing? SHAKESPEARE. 
 lago. He holds me well ; 
 
 The better shall my purpose work on him. 
 Cassio's a proper man : let me see now ; 
 To get his place, and to plume up my will 
 In double knavery 'How, how? Lefs see. 
 
 SHAKESPEARE. 
 
 Juliet. O, break, my heart ! poor bankrupt, break at once ! 
 
 SHAKESPEARE. 
 
 EXERCISES 
 
 77. To a count of i, 2, 3, execute the averse hand to the right five 
 times and to the left five times. Be sure to strike on 3, and at the 
 same time to turn the head away. Try the same obliquely upward and 
 obliquely downward, both on the right and left. 
 
 78. Execute Ex. 77 with both hands. 
 
 79. Execute Ex. 78 with the clasped hands, also using the clasped 
 hands in front upward, and in front downward. On the downward 
 positions of the clasped hands you may still look upward. 
 
 80. Review the Open Hand, with palm both up and down, the Index, 
 and the Clenched Hand, using each in all planes. 
 
 81. Review the Reflex, Averse, and Clasped hands, using in all 
 planes. 
 
138 
 
 GESTURE. THE DRAMATIC HANDS 
 
 82. Review all the positions. 
 
 83. The following exercise from Fulton and TruebloocTs Practical 
 Elocution will be found very helpful in developing graceful action and 
 poise. Practice it often before the mirror, as gracefully as you can. 
 
 FIG. 67. The beginning of 
 Ex. 83. 
 
 FIG. 68. The end of Ex. 83. 
 
 " Let the hands meet a few inches in front of the left hip, gently grasp 
 with each thumb and finger an imaginary silken fiber ; then keeping 
 the hands turned toward each other throughout the movement, gradually 
 separate the arms, the left moving downward and backward, the right 
 upward and % forward, spinning out the thread. Open the hands at the 
 end of the movement. During this movement step forward with the 
 right foot, balancing the body with the left. Stepping with the left 
 foot, practice with the hands on the other side in a similar manner. 
 Repeat alternately twice." (See Figs. 67 and 68.) 
 
LESSON XXXIV 
 
 QUANTITY 
 
 IT is easy to see that the word kick does not occupy so 
 much time in speaking as the word gloom, yet the speaker 
 often does not make use of this fact. All the words of his 
 speech are uttered with about the same length, so that 
 differences which could be made very effective are entirely 
 neglected. 
 
 This division of Public Speaking which deals with the 
 length of vocal sounds and syllables is called quantity. 
 Quantity is based primarily upon the actual time that it 
 
 SHORT SOUNDS 
 
 LONG SOUNDS 
 
 Vowels 
 
 Consonants 
 
 Vowels 
 
 Consonants 
 
 a in at 
 
 b in bob 
 
 a in all 
 
 / in lull 
 
 a in ask 
 
 d in did 
 
 a in arm 
 
 m in me 
 
 e in met 
 i in // 
 o in son 
 
 g \KJUg 
 
 fin fife 
 h in hat 
 
 a in ale 
 a in air 
 
 e in eve 
 
 n in nun 
 r in roe 
 v in vie 
 
 u in put 
 
 j in jig 
 k in kick 
 p in pop 
 s in sat 
 
 e in err 
 i in isle 
 o in old 
 oo in ooze 
 
 w in woe 
 y in yet 
 z in zone 
 th in then 
 
 
 t in tat 
 ch in chat 
 
 u in use 
 oi in oil 
 
 ng in sing 
 zh in azure 
 
 
 th in thin 
 
 ou in our 
 
 
 
 sh in shun 
 
 
 
 
 ivh in when 
 
 
 
 139 
 
140 QUANTITY 
 
 takes to utter the different sounds of the alphabet. Some 
 are long and some are short. Short sounds cannot be pro- 
 longed without becoming displeasing to the ear. Long 
 sounds can be prolonged and yet not become displeasing. 
 With this knowledge of the sounds themselves, we may 
 now understand how we have syllables which are made up 
 entirely of short sounds, called short syllables, syllables 
 made up of part short and part long sounds, called medium 
 syllables, and syllables made up wholly of long sounds, 
 called long syllables. 
 
 Examples of short syllables are : 
 
 kick, tat, pat, tack, dot, etc. 
 
 Examples of medium syllables are : 
 come, pull, rap, met, etc. 
 
 Examples of long syllables are : 
 
 eve, arm, rove, gloom, etc. 
 
 In general, long syllables predominate in sublimity, 
 sorrow, awe, reverence, adoration, calling, commanding, etc.; 
 medium syllables in narration, description, bold and lofty 
 thought, patriotism, courage, etc. ; and short syllables in 
 joy, mirth, laughter, exciting appeal, fright, anger, con- 
 tempt, etc. 
 
 These facts should be taken into account by every high 
 school student in writing an oration or other literary com- 
 position. These different kinds of syllables will heighten 
 the effect desired. If you wish a paragraph full of gloom, 
 go back through your work and see if you cannot substitute, 
 for some of the words that you have, other words that will 
 convey your meaning just as well, or better, and that have 
 more long syllables in them. Likewise, in joy, see if you 
 cannot use a greater number of short syllables. 
 
QUANTITY 141 
 
 Probably the greatest example of the effect of long and 
 short syllables is found in Milton's U Allegro and // 
 
 Penseroso. 
 
 Haste thee, Nymph, and bring with thee 
 Jest, and youthful Jollity, 
 Quips and Cranks and wanton Wiles, 
 Nods and Becks and wreathed Smiles, 
 Such as hang on Hebe's cheek, 
 And love to live in dimple sleek ; 
 Sport that wrinkled Care derides, 
 And Laughter holding both his sides. 
 Come, and trip it as you go, 
 On the light fantastic toe. 
 
 Come, Pensive Nun, devout and pure, 
 Sober, steadfast, and demure, 
 All in a robe of darkest grain, 
 Flowing withfmajestic train, 
 And sable stole of cypress lawn 
 Over thy decent shoulders drawn. 
 Come, but keep thy wonted state, 
 With even step, and musing gait, 
 And looks commercing with the skies, 
 Thy rapt soul sitting in thine eyes. 
 
 But even if it is impossible to attend to all this in writing, 
 much may be accomplished by delivery. If the long syl- 
 lables are neglected, the effect will not be so much in accord 
 with the sentiment expressed by those syllables, while the 
 ordinary effect of such a passage may be heightened by 
 an unusual dwelling on them. 
 
 The same holds true of the short syllables. If they are 
 struck off quickly, they have their correct effect but they 
 must not be prolonged. 
 
 CAUTION. The prolonging of short syllables is what 
 is generally known as drawling. Pick out the short syl- 
 lables, stop prolonging them, and the drawl will disappear. 
 
 NOTE. If attention is paid to prolonging the indefinite syllables, 
 the passage is said to be delivered in long quantity ; if the short 
 
142 QUANTITY 
 
 syllables are given the attention, that is, are given quickly, and the in- 
 definite syllables are slighted, the passage is said to be given in short 
 quantity. If neither of these methods is followed, the passage is 
 probably given in medium quantity. 
 
 EXERCISES 
 
 82. Extend the arms parallel in front, palms down. Depress the 
 wrists. Revolve the hands until the tips of the fingers point down. 
 Now bring the hand back to the shoulder by bending the elbow. 
 Raise the elbows and revolve the hands so the palms are outward. 
 Now push out with the hands. At first do this to a count of I, 2, 3, 4, 
 5, 6, rather jerkily. Soon, however, smooth it down until your counts 
 run together and there is nothing left but a smooth serpentine motion. 
 
 83. Repeat Ex. 82, but extend the arms out at the sides. 
 
 84. Practice the following sentences in their appropriate quantities : 
 
 1 . Move on, thou arm of law. 
 
 2. Pick it up quick, Jack.. 
 
 3. Let them try him. 
 
 4. And he rolls, rolls, rolls, rolls a paean from the bells. POE. 
 
 5. How they tinkle, tinkle, tinkle in the icy air of night. POE. 
 
 From FULTON and TRUEBLOOD'S Practical Elocution. 
 
LESSON XXXV 
 TONE COLOR 
 
 MORE subtle and delicate, and yet perhaps more effective, 
 than any of the means of expression yet described, is what 
 is known as tone color. By this is meant the quality of 
 voice taken on in the manifestation of any particular mood. 
 Of course, as the possibilities of our moods, with their 
 various blendings, are practically infinite, so there are 
 infinite possibilities in tone color, for there is a voice for 
 every emotion ; but a few of the more common of our 
 moods give rise to certain quite plainly distinguished qual- 
 ities, and it is to every orator's advantage to learn their 
 control and use. For convenience we may classify these 
 into a few large groups. 
 
 GROUP I 
 ORDINARY, EVERYDAY, CONVERSATIONAL QUALITIES 
 
 The first large group of qualities is that which we use in 
 our everyday life, the kind we use when we are explain- 
 ing something to a friend, or reciting a lesson, or telling of 
 some ordinary incident that does not excite its greatly. 
 Examples : 
 
 A thing of beauty is a joy forever ; 
 
 Its loveliness increases ; it will never 
 
 Pass into nothingness ; but still will keep 
 
 A bower quiet for us, and a sleep 
 
 Full of sweet dreams, and health, and quiet breathing. 
 
 KEATS. 
 H3 
 
144 TONE COLOR 
 
 I am little accustomed, Gentlemen, to the part which I am now 
 attempting to perform. Hardly more than once or twice has it hap- 
 pened to me to be concerned on the side of the government in any 
 criminal prosecution whatever; and never, until the present occasion, 
 in any case affecting life. WEBSTER in White Murder Trial. 
 
 The reign of Napoleon may be defined as the old world reconstructed 
 by a new man. He covered over with glory the threadbare centuries. 
 He was the first among soldiers, but not among statesmen. He was 
 open to the past, but blind to the future. If this judgment be found too 
 harsh, a mere glance will serve to convince one of its justice. Men are 
 judged not by their fortune, but by their work. He had in his hand 
 the greatest force Providence ever placed in the hand of a mortal to 
 create a civilization or a nationality. What has he left? Nothing but 
 a conquered country and an immortal name. LAMARTINE. 
 
 GROUP II 
 EXTRA LARGE, STRONG, FULL, RICH QUALITIES 
 
 A second well-defined group of qualities is that which 
 we use when our natures expand to their fullest and best. 
 These are larger, stronger, fuller, richer qualities than 
 those we use in our ordinary existence, they come only 
 in the great moments of life, when one's being is fully 
 roused. They are used in reverence, patriotism, courage, 
 etc. The best way to cultivate these qualities, which are 
 among the most important to the orator, is to take senti- 
 ments of a grand, lofty, and sublime nature, and try to fill 
 a large room full of all this grandeur and sublimity, or, still 
 in a large room, you can imagine yourself in the presence 
 of some of Nature's grand scenes, and try to speak as you 
 would if you were to express this grandeur by the very 
 way you said your words. Examples : 
 
 Roll on, thou deep and dark blue ocean, roll. BYRON. 
 
 NOTE. Imagine yourself on a great high cliff, with the vast ocean 
 rolling and tossing at your feet, and give thisJine so that you will sug- 
 gest all the grandeur of the sea. Get a deep, full voice. 
 
TONE COLOR 145 
 
 NOTE. Imagine yourself in the midst of battle, speaking the follow- 
 ing in a very impassioned manner to your soldiers : 
 
 On, on, you noble English, 
 Whose blood is fet from fathers of war-proof. 
 Fathers, that, like so many Alexanders, . 
 Have, in these parts, from morn till even fought, 
 And sheathed their swords for lack of argument. 
 Dishonor not your mothers : now attest, 
 That those whom you called fathers did beget you : 
 Be copy now to men of grosser blood, 
 And teach them how to war : and you good yeomen, 
 Whose limbs were made in England, show us here 
 The mettle of your pasture ; let us swear 
 That you are worth youf breeding, which I doubt not, 
 For there is none of you so mean or base, 
 That hath not noble luster in your eyes. 
 I see you stand like greyhounds in the slips, 
 Straining upon the start. The garnet afoot ; 
 Follow your spirit ; and, upon this charge, 
 Cry God for Harry ! England ! and Saint George ! 
 
 SHAKESPEARE'S King Henry V. 
 
 Reunited glorious realization! It expresses the thought of my 
 mind and the long-deferred consummation of my heart's desire as I 
 stand in this presence. It interprets the hearty demonstration here 
 witnessed, and is the patriotic refrain of all sections and all lovers of 
 the Republic. 
 
 Reunited one country again and one country forever ! Proclaim 
 it from the press and the pulpit ; teach it in the schools ; write it across 
 the skies. The world sees it and feels it. It cheers every heart North 
 and South, and. brightens the life of every American home. Let noth- 
 ing ever strain it again. At peace with all the world and with each 
 other, what can stand in the pathway of our progress and prosperity ? 
 
 WILLIAM MCKINLEY. 
 
 PUB. SPEAK. IO 
 
LESSON XXXVI 
 TONE COLOR Continued 
 
 GROUP III 
 THE THROATY, RASPING QUALITIES 
 
 VERY appropriate to the harsh and disagreeable senti- 
 ments, such as revenge, hate, scorn, contempt and the like, 
 are the throaty, rasping qualities familiar to all in the utter- 
 ance of a very angry child. One very good way to get 
 these qualities is to growl very much as a dog, and then 
 utter words with the same roughness and throat vibration. 
 If you can really get angry upon some appropriate words, 
 it will help. 
 
 CAUTION. Do not practice this quality too much. It is 
 apt to rasp the throat, and should be reserved for passions 
 of the highest significance. Examples. 
 
 Othello : Peace, you were best. 
 
 Emilia : Thou hast not half the power to harm me 
 
 As I have to be hurt. O gull! O dolt ! 
 
 As ignorant as dirt ! thou hast done a deed, etc. 
 Othello : O, that the slave had forty thousand lives! 
 
 One is too poor, too weak for my revenge ! 
 lago. Yet be content. 
 Othello: O, blood, blood, blood I 
 
 SHAKESPEARE. 
 
 I have returned, not as the right honorable member has said, to raise 
 another storm, I have returned to discharge an honorable debt of 
 gratitude to my country, that conferred a greai reward for past services, 
 which, I am proud to say, was not greater than my desert. I have re- 
 
TONE COLOR 147 
 
 turned to protect that constitution, of which I was the parent and 
 founder, from the assassination of such men as the honorable gentleman 
 and his unworthy associates. They are corrupt they mz seditious 
 and they, at this very moment, are in a conspiracy against their country! 
 I have returned to refute a libel, as false as it is malicious, given to the 
 public under the appellation of a report of the committee of the Lords. 
 Here I stand for impeachment or trial! I dare accusation! I defy the 
 honorable gentleman! I defy the Government! I defy their whole 
 phalanx! let them come forth! I tell the ministers I shall neither 
 give them quarter nor take it ! GRATTAN in Reply to Mr. Carry. 
 
 Your sires were soldiers brave, not prowlers base, 
 
 Rogues, miscreants, felons^ village ravagers! 
 
 They made great wars, they rode like heroes forth, 
 
 And, worthy, won broad lands and towers and towns, 
 
 So firmly won that thirty years of strife 
 
 Made of their followers dukes, their leaders kings! 
 
 While you ! like jackal and bird of prey, 
 
 Who lurk in copses, or 'mid muddy beds, 
 
 Crouched and hushed, with dagger ready drawn, 
 
 Hide in the noisome marsh that skirts the way, 
 
 Trembling lest passing hounds snuff out your lair! 
 
 Listen at eventide on lonesome path 
 
 For traveler's footfall, or the mule-bell's chime, 
 
 Pouncing by hundreds on one helpless man, 
 
 To cut him down, then back to your retreats 
 
 You dare to vaunt your sires ? I call your sires 
 
 Bravest of brave and greatest 'mid the great, 
 
 A line of warriors! you, a pack of thieves! 
 
 VICTOR HUGO. 
 
 And, Douglas, more I tell thee here, 
 
 Even in thy pitch of pride, 
 Here in thy hold, thy vassals near, 
 (Nay, never look upon your lord, 
 And lay your hands upon your sword,) 
 
 I tell thee, thou'rt defied. I 
 And, if thou said'st I am not peer 
 To any lord in Scotland here, 
 Lowland or Highland, far or near, 
 
 Lord Angus, thou hast lied! SCOTT. 
 
148 TONE COLOR 
 
 GROUP IV 
 THE DEEP, HOLLOW QUALITIES 
 
 Every student is familiar with the common attempt to 
 scare a person by assuming a deep, hollow, fear-inspiring 
 voice such as it is imagined ghosts might have. This is 
 but true to nature, for these deep, hollow qualities do inspire 
 terror, awe, and the like. The deepest reverence and 
 sublimity sometimes, however, are also appropriate senti- 
 ments for this, but it can easily be seen these partake of 
 the element of intense fear, such as oppresses the per- 
 sonality. The voice really comes from trying to expand 
 the chest cavity to a much greater degree than is usually 
 attained, usually in an attempt to personify a being or 
 comprehend an idea of larger or grander proportions. 
 Examples : 
 
 From Hamlet: 
 
 Hamlet : Whither wilt thou lead me? Speak ; Til go no further. 
 
 Ghost: Mark me. 
 
 Hamlet: I will. 
 
 Ghost: My hour is almost come, 
 
 When I to sulphurous and tormenting flames 
 
 Must render up myself. 
 Hamlet: Alas, poor ghost. 
 Ghost : Pity me not. / atn thy fathers spirit ; 
 
 Doomed for a certain term to walk the night. 
 
 Also, from Macbeth : 
 
 Now o^er the one half world 
 Nature seems dead, and wicked dreams abuse 
 The curtained sleep ; now witchcraft celebrates 
 Pale Hecate "s offerings* and withered murder, 
 Alarmed by his sentinel, the wolf, $ieq l~fhb 
 Whose howl's his watch, thus with staUly pace, 
 With Tarqnins ravishing strides^-tewards his design 
 Moves like a ghost. 
 
LESSON XXXVII 
 
 GATHERING UP THE ENDS 
 
 IF the student has pursued the preceding lessons care- 
 fully, he will doubtless have perceived that certain lessons 
 seem more or less related to others. For instance, he may 
 have noticed that where certain passages have low pitch, 
 they also have slow movement, or that where the move- 
 ment is slow the pauses are longer, etc. This interrelation 
 of the elements of speech is found throughout all study of 
 the subject, and it may be well to point out some of the 
 more marked examples of it. 
 
 Relation between method of applying force, and stress. 
 Especially plain is the relation between the manner of 
 applying force, and stress. Where the force is applied 
 smoothly and gently, it will be found that the median stress 
 prevails. Where it is applied explosively, radical stress 
 will prevail. 
 
 Pitch and rate of utterance. Fully as apparent as the 
 preceding relation is the relation between the pitch of the 
 voice and its rate of utterance. If the pitch of the voice 
 is high, generally the rate of utterance is rapid. If the 
 pitch is low, a slower rate is used. 
 
 Pause and rate of utterance. It is readily apparent 
 that as the rate of utterance decreases, the pauses increase 
 in length. 
 
 Quantity and rate of utterance. Just as evident as the 
 relation between pause and rate, is the relation between 
 quantity and rate. The longer the syllables are prolonged, 
 
 149 
 
ISO GATHERING UP THE ENDS 
 
 the longer are the pauses prolonged, this very clearly 
 for the reason that proportion must be maintained. 
 
 Manner of applying force, and rate. When force is 
 applied smoothly and gently, usually the rate of utterance 
 is made slower, because it takes longer to start a note, 
 swell it, and then let it die away, than it does to utter it as 
 one decisive stroke. 
 
 Degree of force and rate. From the fact that it takes 
 some time to bring out a tone to its full carrying value, 
 when a person is using a great deal of loudness the rate 
 must be made slower. 
 
 Stress and inflection. Very apparent among the inter- 
 relations of the elements of speech is the relation between 
 stress and inflection. If median stress be used, the inflec- 
 tion is apt to be wavelike in form, first rising and then fall- 
 ing. If compound stress is used, usually there appears 
 with it a double wave, the voice first rising and then falling, 
 only to rise again at the end of the inflection. 
 
 Melody and inflection. Melody and inflection are closely 
 related. Usually if there is a rising melody, there are 
 rising inflections predominating, and if there is descend- 
 ing melody, there are falling inflections predominating. In 
 broken melody the inflections are longer. In monotone 
 the inflection is apt to be level. 
 
 Quality and time. Quality and time are very closely 
 connected. Often what is due to one is attributed to the 
 other. And quality often depends on time, for if a note 
 is given quickly and then is stopped suddenly, oftentimes 
 there is not time enough for it to set up the sympathetic 
 overtones upon which depend the qualities of the voice. 
 The note may be given in the short, quick, decisive quality, 
 consisting merely of the fundamental, curt, short, mere 
 matter of fact ; or it may be held until echoes are set up 
 in the remotest chambers of the vocal apparatus, almost 
 
GATHERING UP THE ENDS 151 
 
 in the "remotest chambers of the soul." Man is a machine 
 acted upon by outside influences. Upon the contemplation 
 of an idea the vocal apparatus arranges itself and, as even 
 in the nervous system there is a slight element of time in- 
 volved, the more steadfastly an idea is held before the 
 mind, the more perfectly the vocal apparatus responds. 
 The ideas are like the fingers of the artist upon the key- 
 board of the piano, and just as, if the fingers pause but a 
 moment, there is but a limited response, but if they linger 
 lovingly, the full beauty of the tone is brought out, so 
 beauties of voice are dependent upon the time the idea is 
 held before the mind. 
 
 These are but a few of the interrelations. All the 
 vocal characteristics will be found to have counterparts in 
 the realm of gesture. Even in rendering a short passage, 
 the student will be surprised at the number of inter- 
 relations found. It is interesting to take some selection 
 and to note accurately how many of the principles set forth 
 in this book are employed in its rendition. It is true that 
 many of them will be applied instinctively, but by carefully 
 noticing them, their effect may be increased to a certain 
 extent, thus making the selection or speech more attractive, 
 for it must always be remembered that a speech, like a 
 sentence on the blackboard, must be " writ large," and the 
 ordinary characteristics of speech are better perceived by 
 the audience if they are magnified. 
 
LESSON XXXVIII 
 STYLES OF SPEAKING 
 
 THERE are many ways of preparing a speech. 
 
 1. It may be written out and read. 
 
 2. It may be written and committed to memory. 
 
 3. It may be spoken from carefully prepared notes. 
 
 4. It may be spoken entirely extempore. 
 
 5. It may be given with a combination of two or more, 
 
 or even all of these methods. 
 
 Reading a speech. Of all the methods used in speech 
 making, that of writing out a speech and then reading it 
 is perhaps the worst. The speaker must imagine the exact 
 circumstances under which the speech is to be delivered, 
 which is not always easy to do, and even after this has 
 been done, some unforeseen circumstance may render any 
 amount of painstaking worthless. The speaker cannot 
 change a sentence or a paragraph according to the appre- 
 ciation of the audience, he must read it as it is written 
 (or else for the moment adopt one of the other methods, 
 which, as a matter of fact, is what most readers do). 
 Again, a carefully prepared paragraph or argument may 
 suddenly be rendered useless by some current event. In 
 the delivery, also, the speaker is greatly hampered. If he 
 hold his paper in his hands, he is deprived of one of the 
 most useful sources of gesture. His eye also loses its 
 control of the audience on account of the necessity of 
 constantly referring to the manuscript. There is always 
 the possibility of there being no reading stand upon which 
 to lay the manuscript and the still* more annoying cir- 
 
STYLES OF SPEAKING 153 
 
 cumstance of there being no adequate light. The stand, 
 again, may be too low and the speaker may be compelled 
 to bend forward in his effort to see his paper, thus endan- 
 gering the ability of the audience to hear, and making 
 utterance more difficult. The plan has the advantage that 
 the speaker rarely says anything to which he has not 
 given careful thought and which he is not prepared to 
 support more fully if called upoij. Further, he may bend 
 all his artistic energies toward making the speech a model 
 of rhetorical style, and this, too, at his leisure. 
 
 Speaking from memory. This method is productive of 
 the most artistic results, perhaps, of any ; especially is 
 this true of its use upon those occasions which are well 
 established, when the speaker can accurately forecast the 
 conditions under which he is to speak. As to the writing, 
 it has all the advantages, of course, that are possessed by 
 the first method, that of writing and then reading, 
 and to these may be added all the graces of delivery that 
 can be secured by careful attention to good technique in 
 voice and action, for a speaker using this method can pre- 
 pare his gestures and his tones of voice with the same care 
 that he prepares his manuscript. Its disadvantages lie in 
 the fact that very few people have memories which are 
 absolutely sure, in the experiences of nearly all speak- 
 ers using this method there have occurred moments when 
 they have entirely forgotten their words, which, of 
 course, is very embarrassing. It is a very laborious 
 method. Very few people commit easily and a vast 
 amount of valuable time is spent in this galley-slave work. 
 
 This method is very useful as an exercise for those just 
 beginning in the art of public speech, for it gives excellent 
 training both in the writing of a speech and in its delivery, 
 since both are subject to careful forethought. Nearly all 
 great speakers have at one time or another used this style. 
 
154 STYLES OF SPEAKING 
 
 Speaking from notes. This method, in the hands of a 
 master, approaches more nearly to the ideal. If this style 
 is used, no endeavor should be made to conceal the notes. 
 They should be written plainly, so that the eye may follow 
 them and pick up the next topic or heading during the 
 utterance of one of the closing sentences on the preceding 
 topic or during the brief pause between paragraphs. The 
 danger is that a speaker, under the excitment of the mo- 
 ment, may be unable to recall what he is to say under the 
 heading or may totally fail to understand it. For this 
 reason " catch words " should be avoided, the headings 
 being written out in full. It is better to hold the notes in 
 the hand if the speaker moves about much on the platform, 
 lest at some time he finish a paragraph at some distance 
 from the desk and be compelled to walk back to it before 
 taking up the next point. The paper upon which the notes 
 are written may often be used in gestures with good effect, 
 being shaken to emphasize a point, or being lifted even 
 high above the head in strong parts of the speech. 
 
 Extempore speaking. Notwithstanding each of the 
 methods of speaking just mentioned has its advantages, 
 the extempore style, nearly all authorities agree, is the 
 final flower of all oratorical study. Extempore speaking 
 is, as the Latin words ex tempore signify, speaking 
 "upon the spur of the moment." The term was formerly 
 applied to that speaking which was done without pre- 
 vious notification and without any preparation. This sort 
 of speaking to-day, however, is styled " impromptu speak- 
 ing," and the term " extempore speaking " is limited to 
 such speaking as implies careful preparation upon the 
 material of the speech but no particular preparation 
 upon its language. With this style well in hand, the 
 speaker may at times reach heights^ never attainable by 
 any of the other methods. This style requires more 
 
STYLES OF SPEAKING 155 
 
 general preparation, but less particular preparation. He 
 that uses it successfully must generally be a greater man 
 than he that does not, but even a mediocre speech gains by 
 being delivered in a good extempore style. The speaker 
 who speaks extempore must know how to construct the 
 skeleton of a good speech, he must know rhetoric, he must 
 know grammar, and must know the last two so well that 
 he may compose good English at the rate of one hundred 
 and fifty or two hundred words a minute. With these 
 attainments, which are the ones that give the beginner 
 trouble, he is left free to adapt his work to the time, 
 place, and occasion as no other speaker can possibly do. He 
 can indulge in a hand to hand grapple with the audience, if 
 necessary, picking up questions called from the audience 
 and answering them on the spot He is always at liberty 
 to watch how his speech is affecting his audience and to 
 qualify or emphasize his words as the occasion demands. 
 If some sudden inspiration of fancy seizes him while speak- 
 ing, he is free to insert it; and on the other hand, if some 
 prepared thought is evidently going to prove disadvanta- 
 geous, it may be omitted. Not so much attention need be 
 paid to voice or action, for he is now sure to be thinking 
 his speech as he goes along, and the consequent feeling and 
 its expression follow closely with unerring accuracy. 
 
 Beginners, however, find difficulty arising from various 
 sources. Sometimes the excitement of appearing before 
 an audience seems to paralyze the thought activities and 
 the mind becomes a blank. This must be overcome simply 
 by perseverance. Again the student may be hampered by 
 his lack of dexterity in rhetoric. This may be overcome 
 by a great amount of writing, first writing slowly, and then 
 more and more rapidly, until finally the pen or pencil is too 
 slow, when the student may speak his speech at first slowly, 
 and then more and more rapidly, until the required speed is 
 
156 STYLES OF SPEAKING 
 
 reached. Difficulties with grammar may be eliminated in 
 the same way. Too many students are apt to believe, also, 
 that the " gift of gab " is all that is necessary, to say 
 something and keep on saying it. This is entirely an error. 
 The extemporaneous paragraph if taken down by a ste- 
 nographer and printed, should show all the exactness in 
 structure that is possessed by the carefully written para- 
 graph. To avoid constantly repeating one thing, a definite 
 progressive outline should be made, and then the speech 
 should progress with it. It might be well for the student to 
 prepare about four times the material he needs under each 
 head and then he will be sure to have plenty to say, even 
 if some of it slips away when he rises to speak. 
 
 Combination methods. Very often speakers use a 
 method combining two or more of the preceding methods. 
 A speaker may read most of his speech, but occasionally 
 through it he may lay aside the manuscript and launch 
 forth upon a committed paragraph. This is better than 
 reading altogether, but usually the committed portion seems 
 so much more interesting to the audience that they count 
 the rest of the reading intolerably dull. Again the relief 
 paragraphs may be extempore, but where the speaker is 
 not experienced in this style they are apt to be halting and 
 fragmentary, although the speaker undoubtedly gains in the 
 attention of his audience. Some speakers combine the ex- 
 tempore and memoriter methods, writing out and commit- 
 ting to memory, say, the introduction, the conclusion, and a 
 few of the most important parts of the speeches, while they 
 leave the remainder to the extempore style. This has the 
 advantage that the speaker is sure of effective language at 
 critical places, but the differences in style are often too ap- 
 parent, and since the speaker goes faster generally upon 
 the committed portions, the speech acquires a sort of jerky 
 effect. 
 
LESSON XXXIX 
 GENERAL OBSERVATIONS ON RECITING 
 
 WITH direct address, such as is found in an oration or 
 debate, much less trouble is experienced by the beginner 
 than with reciting proper, where he is obliged to take the 
 part of one or more characters. To aid the student in this 
 sort of work, a few suggestions are given below. 
 
 See your characters yourself. First of all, it is necessary 
 that you actually see your characters yourself. If you are 
 Brutus, you must imagine that you have on your coat of 
 mail, that you have your sword at your side. If you are 
 Aunt Chloe, you must imagine yourself in the checked 
 apron, with the red bandanna around your head, and with 
 the thick lips and Southern dialect. You can never hope 
 to make your audience see your characters if you do not 
 see them yourself. 
 
 It is just as necessary, too, that you see the characters 
 you are addressing. When you, as one character, talk to 
 them, they will respond (in your imagination), perhaps by 
 smiling at you, perhaps by frowning, or threatening you. 
 This, in turn, will have its effect upon your own facial ex- 
 pression, and the audience will see the whole scene before 
 them. 
 
 Position of characters. In reciting, the reader stands 
 almost still, only turning slightly from side to side. Below 
 is given a diagram which will aid the student. 
 
 Let a represent the reciter. If he is addressing b, he 
 will look along the line ab, at an angle not greater than 
 
158 GENERAL OBSERVATIONS ON RECITING 
 
 forty degrees to the left of a line running to the center of 
 the audience. To look along the dotted line ad, as if your 
 characters were on the platform with you, would be bad, 
 for then the people on your extreme right would have 
 trouble in hearing you and would not be able to see your 
 facial expression. It must be remembered, too, that when 
 you are addressing b, you must look steadily at b. Do not 
 let your gaze wander, but keep it glued to your character. 
 
 _ vo- 
 
 lt is a good plan to take some object on the wall, a win- 
 dow, a gas jet, or something, as a guide. 
 
 When you are through talking to b, and b is about to 
 speak, imagine that b has come to where you are, that is, 
 to a, and that you, or, better, the character you just were, 
 have gone to c. Then you at <?, as , must address c along 
 the line ac. 
 
 Do not get your grown people too small. Remember 
 that they are about as tall as you are, and that you are 
 supposed to look them in the eye. 
 
 Just suggest the actions of the characters. It is not 
 necessary, in fact it is not good, to imitate your characters 
 exactly. Just suggest them to your audience. For in- 
 stance, if a character kneels, it is not necessary for you 
 to kneel; just the clasped hands and a slight bend in the 
 forward knee will be enough to suggest the action. If a 
 
GENERAL OBSERVATIONS ON RECITING 159 
 
 character draws a sword, it is not necessary to put it away. 
 Do not use any costume whatever. 
 
 Put your pictures to one side and let your eyes "flit 
 back and forth " between them and your audience. It is 
 
 sometimes well, in describing very vivid scenes, to imagine 
 that you see them off to one side (never farther to the sides 
 than the lines ab and ac\ Then tell the audience what 
 you see, looking now at the picture off yonder, and now at 
 the audience. In case you use gestures, pointing to the 
 scene, look back to the audience just as the stroke comes. 
 Use taste. It disgusts an audience to overpersonate. 
 In nearly every case, if you can tell about the scene, the 
 audience would prefer it ; but when the interest becomes 
 absorbing, then you may change your method. If there 
 is only a line or two in the selections that are quoted, per- 
 haps it would not be best to impersonate them. Do not 
 begin a recitation with a violent impersonation. Work up 
 to it with a little introduction, if you must start with it. 
 
LESSON XL 
 GENERAL OBSERVATIONS ON STAGE DEPORTMENT 
 
 ONE of the best exercises for developing freedom of 
 action and naturalness of melody is that of presenting 
 before the class or school short scenes from good plays. 
 In order that this may be done well, a few simple sug- 
 gestions that govern the art of acting are here given. 
 Each scene, of course, must be worked out by itself, but 
 the following hints will help materially in " putting on " a 
 good production. 
 
 Position. It should always be remembered that the 
 actor is playing for the audience. Too many young 
 students play for the other characters on the stage. Re- 
 member that, although you must seem to play for the 
 other characters, you, /;/ reality, must play for the audi- 
 ence. This will affect your position. The foot farthest 
 from the audience should be extended toward the character 
 whom you are addressing. This will turn you more 
 toward the audience than if you stood the other way, and 
 they will thus be enabled to hear you better, and to see 
 the expression on your face. If possible, it is well to seek 
 a position "up stage," that is, toward the back of the 
 stage, from the character you are addressing. This will 
 aid in the same manner as the position of the feet, which 
 has just been mentioned. Be careful, however, not to let 
 the audience know that you are seeking such a position. 
 Slip into it when they are interested, in something else. 
 
 Remember, too, that it is not always necessary to look 
 
 160 
 
OBSERVATIONS ON STAGE DEPORTMENT 161 
 
 straight at a character on all of your speeches. In a room 
 at home we often say things to another person when we 
 are looking entirely away from them. So in acting, it may 
 be possible, if you cannot get into a position so as to ad- 
 dress both the audience and the character, to address only 
 the audience ; that is, not talking directly to the audience, 
 but looking off somewhere, and yet facing the audience so 
 that they can hear. Do not overdo this little device. It 
 is especially good in a quarrel, or when the relations of the 
 characters are strained, or when the remark is a careless 
 one, but it should not be used on any speech where there 
 is a call for directness. 
 
 When your part is a heavy one, that is, when you have 
 a great deal to say, seek the center of the stage and get 
 the other characters in front of you and toward the sides. 
 
 Be careful not to turn your back on the audience, except 
 on very rare occasions. For this reason, when you pace 
 across the stage, stop with your back foot, the one farthest 
 from the audience, the one farthest " up stage," out, and 
 then turn toward the audience, and around. 
 
 In making gestures with both hands, let the hand next 
 the audience lag a little, so that it will not get in front of 
 your face. For this purpose, too, allow it to be a little 
 lower than the other. 
 
 In turning, you may rise slightly on your toes and swing 
 round on them, instead of taking steps ; this is especially 
 good on quick turns. Do not ever cross the feet in turning. 
 
 Voice. The same holds true in regard to the voice as in 
 regard to the position of the actor, he must remember 
 that, although he must seem to talk to the characters on 
 the stage, he must really talk to the people on the back 
 seats in his audience. It will be difficult for a time to exag- 
 gerate the conversation sufficiently, but ability will come 
 with practice and insistence on the part of the instructor. 
 
 PUB. SPEAK. 1 1 
 
1*62 OBSERVATIONS ON STAGE DEPORTMENT 
 
 Because the audience must hear, when the actor turns his 
 back, or even turns slightly away, he should increase his 
 loudness. In such cases, the sound waves must, to some 
 extent, reach the hearer by reflection, by bounding back 
 from some opposite wall, and they lose some of their inten- 
 sity by the process. 
 
 Crossing. To avoid making a scene appear wooden, 
 there must be constant action, the characters must move 
 about. The following three rules will govern this action. 
 
 1. Try to cross on a vigorous speech. Action is natural 
 to emotion. When a person is highly wrought, he is much 
 more likely to move about. 
 
 2. Let the speaking character cross in front of the others. 
 The reason here is the same as that given above, the 
 audience must hear, and it is safer to have the speaker cross 
 in front for this reason. Too, the people are interested, 
 generally, in the speaking character, and he should be in 
 the foreground. 
 
 3. Let the silent characters have their share of the cross- 
 ing. If they cross in the opposite direction, as the speaker 
 crosses, he will only have to go one half as far, and the 
 stage, at the end of the cross, will be in better balance. 
 
 Grouping. About the only direction necessary for stage 
 grouping is that the characters be so placed that they can 
 all be seen by the audience, so that they do not stand 
 one in front of the other as seen from the audience, and so 
 that a view of them is not obstructed by any stage property, 
 such as a bouquet, a lamp, or the trunk of a tree. 
 
 A semicircle, when there are many characters, is good, 
 but it is better if the large semicircle be broken up into 
 several smaller ones. Do not allow all the characters to 
 look straight at the audience, like so many tin soldiers. 
 Suit the direction of their glances^ to the momentary 
 suggestion of the scene. 
 
OBSERVATIONS ON STAGE DEPORTMENT 163 
 
 Entrances and exits. Do not come on the stage, take a 
 position, then assume the emotion called for, and finally 
 speak your lines. When you enter you should already be 
 in the mood, and the words should follow immediately. 
 Neither, when you have finished your part, should you 
 walk off as if you were all done with your little speech and 
 were now going off the stage. Suit your exit to the mood 
 also. 
 
 The stage. Below is given a diagram of the stage, 
 with the terms generally used in the plays put out by the 
 dramatic publishing houses. Remember that all directions 
 are written for the actor, for instance, when the direction 
 is " going left," it means to the actor's left, not to the left 
 of the stage as seen by the audience. 
 
 D. R.C. D.C. D. L.C. 
 
 R. u - E. , ' : L. U. E. 
 
 / UP STAGE OR BACK \ 
 
 R.3 E L.3 E. 
 
 / R. R.C. C. L.C. L. \ 
 
 / RIGHT RIGHT CENTER LEFT LEFT \ 
 
 R. 2 E. CENTER CENTER L. 2 E. 
 
 R. 1 EJ 
 
 DOWN STAGE OR FRONT 
 
 \, 
 
 THE AUDIENCE 
 
APPENDIX 
 
 I. WRITING AN ORATION 
 II. TRAINING FOR CONTESTS 
 III. SOME EXTEMPORE PROGRAMS FOR BEGINNERS 
 
 164 
 
APPENDIX 
 I. WRITING AN ORATION 
 
 WITH all the graces of elocution, no speaker will 
 succeed unless he has something good to say. Further 
 than this, a speaker might be able to write a good essay 
 on his subject, and yet not be able to frame his thoughts 
 for a good oration. There are certain peculiarities that go 
 with oratorical composition. 
 
 Not all subjects are suitable for orations. Not all sub- 
 jects are capable of good oratorical treatment. The 
 essential difference between an oration and other forms of 
 literary composition is that it makes an appeal. It may 
 aim at influencing the action of men, or merely at getting 
 them to think differently, but it must make an appeal of 
 some sort. From this standpoint, it is evident that no 
 oration could be written on Radium, or The Mechanical 
 Construction of Automobiles. Orations could 'be written on 
 the Abolition of Child Labor, or Napoleon TJie Misunder- 
 stood. A man may be held up as the incarnation of some 
 principle which we should adopt in our lives, such is 
 nearly always the purpose of the biographical oration. It 
 might be stated that the best subjects to write on are 
 men, battles (forensic or military), and problems (industrial, 
 governmental, social, etc.) 
 
 Make up your mind what thought you want your audi- 
 ence to carry away. After you have selected your sub- 
 ject, or while you are selecting it, some one -thought 
 will present itself to you . as the one you want your audi- 
 
 165 
 
166 APPENDIX 
 
 ence to carry away. After this has come to you, don't 
 have more than one purpose in your speech, and be sure 
 that you believe in it yourself, think of all the possible 
 things you know about the subject that would help you 
 to impress this thought upon your audience. These dif- 
 ferent things will make about a paragraph apiece. You 
 may not be able at once to think of all that you will 
 finally use, but jot down those ideas that do occur to you, 
 and keep adding to them as you keep thinking about 
 your subject. Doubtless, as you read, too, others will 
 occur to you. Dovetail these into the one great purpose 
 that is governing your speech. 
 
 Take notes in your own language. Never take notes 
 in the language of the book or magazine you are reading. 
 If you do, some one may sometime accuse you of plagiarism 
 (stealing literary property) when you really think yourself 
 innocent. Take all your notes in your own language, 
 unless, of course, you purposely wish to quote something, 
 when you should always mention the author's name. This 
 is required in most of the large oratorical leagues. 
 
 Read some great orator whose style you like, just be- 
 fore writing. Every person, nearly, looks up to some 
 great orator as his ideal. There is some orator whose 
 style always inspires you, makes you want to do such 
 things as he did. Get some speech of this great orator and 
 read it until you feel that you must throw the book aside 
 and get at writing some of your own thoughts. Then 
 write at once. Give your thought free rein. Don't try to 
 determine whether what you are writing is good or not, 
 write, write, don't even stop for the penmanship. This 
 inspiration will probably last until you get nearly your 
 whole speech written. Toward the end you will find that 
 you are getting tired, and that you-do not make such 
 good headway as at first. When this occurs, stop, lay 
 
WRITING AN ORATION 1 67 
 
 the manuscript aside, and forget it. Later, not before 
 the next day, look over what you have written. Some 
 of it will probably look foolish.* If it does, cut it out. 
 Roughly arrange what you have left, read it all over 
 again, read your " inspiration orator " again, then reread 
 your material very rapidly, and write your conclusion. 
 Now lay the manuscript aside again. 
 
 The first revision. A day or so later, look at your 
 speech once more. Doubtless there will be some more 
 writing that will have to go. Don't be afraid to get rid of 
 it. Work this time to get your paragraphs arranged so 
 that they follow one another naturally, and so that the 
 oratorical intensity of the speech grows toward the end. 
 Perhaps a sentence here and there will not suit you. Fix 
 it. After this is all done, recopy. 
 
 The second revision. After the recopy has rested a 
 day or so, sit down and carefully labor over each sentence, 
 for structure and diction. Test every clause, every word, 
 every punctuation mark, by the best knowledge you have. 
 Cut out a good many of your connectives. Remember you 
 can give to an audience by an inflection of the voice, what 
 oftentimes it would take a whole sentence to say in words 
 on the written page. Don't be worried if it does not read 
 well. Get up and go through it as if you were speaking 
 it and see if it sounds well. If any part does not suit you, 
 labor at it till it does. 
 
 The final copy. Now take this copy, which should 
 be so full of corrections that you can hardly make out 
 what the right correction is, and copy it finally. It 
 would do no harm, in fact you really ought, to go over 
 this final copy again, to give the last touches before it 
 leaves your hands. With this done, you can rest from 
 your labors, feeling that you have done the best that could 
 be done. 
 
1 68 APPENDIX 
 
 II. TRAINING FOR CONTESTS 
 
 Whether any instructor should have a part in the train- 
 ing of contestants for a public contest is a debatable 
 question. But whichever way it is decided, the following 
 hints it is hoped will be of assistance. 
 
 Start early. This direction may seem needless, but 
 it is of the utmost importance. Unforeseen difficulties 
 are always sure to arise, and it is far better to have too 
 much time than to go on the platform feeling that not 
 all has been done that could be done. With high school 
 pupils a preparation extending through ten weeks would 
 not be any too long. 
 
 Work every day. This is very important. Especially 
 in the matter of voice will this be imperative. The 
 voice does not grow, any more than any of our other 
 muscular powers, by fits and starts. It is the constant, 
 daily exercise that counts. A voice can be wonderfully 
 strengthened by steady work every day for ten w r eeks. 
 Work both on voice exercises and the delivery of short 
 passages. As for gesture, all the primary positions of 
 the hand should be mastered in all the zones. Work, 
 if alone, before the mirror ; if the instructor is present, get 
 on the platform and let him criticize each gesture severely. 
 Do not let the slightest thing that does not please him 
 remain in your delivery. Practice all the technique of 
 moving about on the platform also. In all your work, 
 both in action and voice, imagine your contest audience 
 in front of you. At least an hour's work every day, five 
 days in the week, should be indulged in. 
 
 Committing. After the speech is written, or the reci- 
 tation or declamation selected, and after this preliminary 
 work has been done, comes the committing. Here all 
 the devices known for memorizing may be used. 
 
TRAINING FOR CONTESTS 169 
 
 First. Work when you are rested and in good health. 
 If your health is not the best, strive to perfect it as soon 
 as possible. If you are tired at*night, as is usually the 
 case, work in the morning. 
 
 Second. Understand your speech thoroughly. If it is 
 a recitation, or declamation, this is especially important. 
 Never have a single word in your speech that you do not 
 understand. Go through your speech, whether it be de- 
 bate, recitation, declamation, or oration, and make an 
 outline, observing the connection, not in words, but in 
 thought, of each sentence to those- that go before. Why 
 does this come next ? Is this the effect of that ? What 
 things go to support this point ? How many points are 
 there ? Where does the leading character go from here ? 
 What mental picture follows that mental picture ? Go 
 through all your speech and study it out. 
 
 Third. Commit in large sections. Get the drift by 
 reading the whole production through several times. 
 After this is done you may go back and correct any 
 slips in the wording that have crept in. 
 
 Fourth. Use several means for fixing the speech in your 
 mind. Write it ; the action of the muscles in writing will 
 help you to remember. Read it to yourself from the manu- 
 script page ; the position as regards page and line will help. 
 Read it aloud ; the sound of your voice will aid. Have 
 some one else read it aloud ; the way they read it will im- 
 press you. If it is a recitation, see the different scenes as 
 they are stationary ; see the characters as they move about 
 also. Hear the noises or sounds that would accompany the 
 scene. 
 
 Fifth. In case any particular place gives you trouble, 
 you will generally find that it is on account of a lack of 
 sequence in the thought. In such cases, it is well to re- 
 peat the last words of the preceding sentence with the first 
 
I/O APPENDIX 
 
 words of the following sentence in a perfectly mechanical 
 way several score of times, at least until the very act of 
 repeating the last words of the sentence preceding the bad 
 place suggests at once the first words after it. When this 
 action of the mind has been secured, it is an easy task to 
 say the words with the expression desired. 
 
 Do not overtrain. As the time of the contest draws 
 near, with all this daily work of rehearsal, there may some- 
 times develop a tendency to be " tired of the whole thing." 
 If this condition arises, drop out a rehearsal, take an un- 
 usually long night's rest, eat plenty of good food, and take 
 a good long walk in the open air. 
 
 Nearing the end. After everything is in readiness, and 
 the last week is before you, lighten the work a little. For 
 the first few days of the week one rehearsal a day in ex- 
 actly the form wished at the contest will be enough. About 
 three days before the final event there should be a dress 
 rehearsal. The drape of a dress, or the arrangement of a 
 tie or pair of cuffs, may sometimes prove a hindrance to 
 the means of expression previously drilled on. For the 
 last three days the contestant should not speak his produc- 
 tion aloud. He may sit down and repeat it to his in- 
 structor, merely to keep the memory channels from filling 
 up, but no vigorous practice whatever should be indulged 
 in. Long walks should be taken daily. Be careful of ex- 
 posure which might lead to a cold. Take good rest. If 
 possible, a week beforehand, the contestant should see the 
 auditorium in which he is to speak. The image of the 
 place will then stay in his mind, and all of his practice will 
 be done with the particular conditions under which he is 
 to speak clearly in his mind. This will avoid any shock 
 on the final day. 
 
 The final day. This is the hardest-day of all to outline. 
 If a trip must be taken, get to the place before noon. 
 
TRAINING FOR CONTESTS I/I 
 
 After lunch go to the auditorium, see how the furniture 
 is arranged, practice the start and finish of the speech, and 
 go back to the hotel. Do not go*to a private house if it 
 is possible to avoid it. You will be under certain obliga- 
 tions there which will not be met at the hotel, where you 
 can be governed absolutely by your own pleasure. After 
 you have returned to the hotel, go to your room, pull down 
 the curtain, and lie down. If you can sleep, do it, if not, 
 at least stay on your back. Get up a little before dinner, 
 take a short walk, and eat for dinner the same kind of food 
 that you usually do at home, but perhaps a little less of it. 
 Be careful here. Nothing is so fatal as a change of diet 
 at this late date. Don't use any special stimulant, such as 
 coffee, unless you are in the habit of taking it at home at 
 your regular dinner; the excitement of the occasion will 
 be enough of a stimulant. If you have kept on your usual 
 clothes, at least loose ones, during the day, when you 
 get dressed for the evening you will feel the best you ever 
 felt in your life. Try the start and a few gestures of your 
 speech before the mirror before you go to the hall. Be- 
 ware of reception committees. They may want to show you 
 the sights of the town, but their intentions should always 
 be suspected. Keep to your method of training, no matter 
 what they wish. 
 
 At the hall. After you get to the auditorium, don't 
 stand up. Sit down, anywhere, but in some place where 
 no draft will blow upon you. Take things rather easy 
 until two or three minutes before you are to go on. Don't 
 use any more energy than you have to. If charts are to 
 be used in the debate, they should be put up by some one 
 else, and you should only go to see if the pointer is in its 
 proper place and that the charts are arranged all right. If 
 you are slow to warm up to your oration, and generally 
 speak it better, to the knowledge of your trainer, the second 
 
172 APPENDIX , 
 
 time of an evening than the first, get him to send you 
 through some vigorous gestures, perhaps those of your 
 strongest paragraph, just before he gives you the final push 
 and word. 
 
 Afterwards. If you have followed these directions, and 
 no accidents have occurred, you may rest in quiet, assured 
 that so far as in you lay, you have done your best to secure 
 the coveted honors of the contest. 
 
 III. SOME EXTEMPORE PROGRAMS FOR BEGINNERS 
 
 Below are given several topics that will usually result in 
 good speeches. A number of additional topics will suggest 
 themselves under each head. 
 
 1. ATHLETICS: 
 
 (<z) Summer baseball. 
 () Professionalism. 
 
 (c) Relative value of baseball and basketball. 
 
 (d) Danger of football. 
 
 (e) Mental and moral training gained in football. 
 
 2. POLITICS: 
 
 (a ) Disadvantage of adhering to party lines. 
 
 () The newspaper and politics. 
 
 (c) Advantages of the primary system. 
 
 (d) How political reforms are brought about. 
 
 (e) Votes for women. 
 
 3. THE NEW EDUCATION: 
 
 (a) Manual training. 
 (x) Wood work. 
 (y) Metal work. 
 
 (b) Domestic science. 
 (;r) Cooking. 
 00 Sewing. 
 
 (c) Stenography. 
 
 (d) The vocation teacher. 
 
 (e) Playgrounds during the summer. 
 
SOME EXTEMPORE PROGRAMS 173 
 
 4. A PROGRAM FOR PRACTICE IN INTRODUCING A SPEECH : 
 (a) The reminiscent introduction. 
 
 () The story introduction. * 
 
 (c) The epigrammatic or paradoxical introduct&>n. 
 
 (d) The quotation introduction. 
 
 (e) The personal introduction. 
 
 5. A PROGRAM FOR PRACTICE IN CLOSING A SPEECH: 
 
 (a) The summary. 
 
 (1) By numbering the parts. 
 
 (2) By using such terms as 4 * again," " further," etc. 
 
 (b) The appeal. 
 
 (c) Closing with a picture of ideal conditions. 
 {d) Closing with a prose quotation. 
 
 (<?) Closing with a poetical quotation. 
 
 6. AN EXPOSITORY PROGRAM : 
 
 (a) Explaining wireless telegraphy. 
 
 (b) Explaining the theory of aviation. 
 
 (c) The judicial recall. 
 
 {d) The structure of an epic poem. 
 (e) The structure of a popular song. 
 
 7. A NARRATIVE PROGRAM : 
 (a) Some trip. 
 
 () Some football game. 
 
 (c) Some play. 
 
 (d) Some meal. 
 
 (e) Some party. 
 
 8. A DESCRIPTIVE PROGRAM : 
 (a) Niagara. 
 
 () The Rockies. 
 
 (c) The mill pond. 
 
 (d) A friend^s house. 
 
 (e) A beautiful picture. 
 
 9. AN ARGUMENTATIVE PROGRAM : 
 
 (a) High school fraternities. 
 
 () The honor system. 
 
 (c) Elective vs. prescribed studies. 
 
174 APPENDIX 
 
 (d) Examinations. 
 
 (e) Gymnasium work. 
 
 10. A STORY PROGRAM: 
 
 Reproduce stories from the current magazines. 
 
 1 1 . CHARACTER SKETCHING : 
 
 Sketch some strong character you have known. 
 
 12. THE EULOGY: 
 
 Praise some public man. 
 
INDEX OF ORATORICAL SELECTIONS 
 
 BEECHER, HENRY WARD 
 
 The Martyr President 95 
 
 BEVERIDGE, ALBERT J. 
 
 Trade with the Philippines 34 
 
 ELAINE, JAMES G. 
 
 The Death of Garfield 54 
 
 BROOKS, PHILLIPS 
 
 The Character of Lincoln ...... 68 
 
 BURKE, EDMUND 
 
 The True Source of Revenue 65 
 
 Arraignment of the Ministry 94 
 
 CALHOUN, JOHN C. 
 
 Against Enacting an Unenforceable Law . . 59 
 
 CHANNING, WILLIAM E. 
 
 The Business of War ....... 79 
 
 CHOATE, JOSEPH H. 
 
 On First Hearing Abraham Lincoln .... 70 
 COLLEGE ORATIONS 
 
 Pickett's Charge at Gettysburg 5 2 
 
 Discovery of America by Columbus .... 54 
 DICKENS, CHARLES 
 
 Speech at a Charity Dinner . . . . . 72 
 
 EVERETT, EDWARD 
 
 Galileo the Columbus of the Heavens . . . . 39 
 
 The People always Conquer 53 
 
 The First Settlement of New England .... 90 
 GARFIELD, JAMES A. 
 
 Nominating John Sherman for the Presidency . . 72 
 
 GRADY, HENRY W. 
 
 The Race Problem 60 
 
 GRATTAN, HENRY 
 
 Reply to Mr. Corry 73 
 
 Invective Against Mr. Corry (second selection) . . 146 
 
176 INDEX OF ORATORICAL SELECTIONS 
 
 GOUGH, JOHN B. 
 
 The Niagara of Dissipation . . . . . . 52 
 
 HARRISON, BENJAMIN 
 
 Everyday Services . . no 
 
 HENRY, PATRICK 
 
 They Tell Us We Are Weak 89 
 
 The Battle Not to the Strong Alone .... 90 
 HOFER, ANDREAS 
 
 In His Own Defense 91 
 
 HUGO, VICTOR 
 
 The Present Age 33 
 
 INGALLS, JOHN J. 
 
 Political Equality not Social Fraternity . . . . no 
 
 Democracy's Debt to Science . . . . . no 
 LAMARTINE, ALPHONSE DE 
 
 The Reign of Napoleon 
 
 LEE, RICHARD HENRY 
 
 Why Longer Delay . 
 
 LINCOLN, ABRAHAM 
 
 The Gettysburg Address 
 
 LODGE, HENRY CABOT 
 
 America's Mission ........ 
 
 MAXCY, JONATHAN 
 
 The First American Congress 
 
 MCKINLEY, WILLIAM 
 
 A Reunited Country 
 
 NEWMAN, CARDINAL 
 
 The Power of Speech . . . . 
 PARKER, THEODORE 
 
 Reminiscences of Lexington ...... 
 
 PHILLIPS, WENDELL 
 
 New England the Cradle of Liberty 
 
 Toussaint L'Ouverture 
 
 Toussaint L'Ouverture (second selection) . . 
 
 Daniel O'Connell 
 
 PITT, WILLIAM 
 
 You Cannot Conquer America 
 STEPHENS, A. H. 
 
 Plea against Secession . . . 
 
INDEX OF ORATORICAL SELECTIONS 177 
 
 STORY, JOSEPH 
 
 Advantages of America . . . . . . 114 
 
 WATTERSON, HENRY ^ 
 
 Puritan and Cavalier 36 
 
 WEBSTER, DANIEL 
 
 True Eloquence 45 
 
 Peace at Bunker Hill . 50 
 
 The Statesmen of South Carolina . . . . . 57 
 
 Liberty and Union . . . . . . . . 113 
 
 PUB. SPEAK.- 
 
INDEX OF EXERCISES 
 
 Abdominal muscles, 4, 5, 6, 7, 8 (p. 13) ; 
 
 9 (p. 14). 
 Articulation, 13 (p. 17); 16 (p. 21); 17, 
 
 18, 19, 20 (p. 22) ; 73, 74 (p. 131). 
 Averse hand, 77, 78, 81 (p. 137). 
 Breathing, 4, 5, 6, 7, 8 (p. 13) ; 9 (p. 14) ; 
 
 25 (P- 35) ; 27, 28 (p. 38). 
 
 Chest, 26 (p. 35) ; 27, 28 (p. 38) ; 4, 5, 6, 
 
 7, 8 (p. 13) ; 9 (P- 14) J 29, 30 (p. 40)- 
 Clasped hands, 79 (p. 137). 
 Clenched hand, 50, 51, 52, 53, 54, 55 
 
 (p. 100); 80 (p. 137). 
 Clearness of voice, 10, n (p. 16) ; 12, 13 
 
 (p. 17); 19 (p. 22). 
 Diaphragm, 4, 5, 6, 7, 8 (p. 13); 9 
 
 (p. 14); 25 (p. 35). 
 Elbows, 22 (p. 25) ; 24 (p. 31) ; 26 
 
 (P- 35) ; 27, 28 (p. 38) ; 29, 30 (p. 40). 
 Flexibility of voice, 35 (p. 51). See also 
 
 Melody. 
 
 Force, 39, 40 (p. 70) ; 46, 47 (p. 94). 
 Fingers, 15 (p. 21); 21, 22 (p. 25); 26 
 
 (P- 35); 27, 28 (p. 38); 29, 30 (p. 40). 
 Grace, of arm and hand, 71 (p. 128) ; 72 
 
 (p. 129); 84, 85 (p. 142); of entire 
 
 body, 71 (p. 128); 83 (p. 138). 
 Index hand, 36, 37, 38 (p. 66) ; 80 (p. 137). 
 Inflection, 35 (p. 51); 61 (p. 108) ; 
 
 62, 63, 64 (p. 109); 65 (p. in); 75, 
 
 76 (p. 132). 
 Jaw, 19 (p. 22). 
 Lips, 17 First line and a half, reading 
 
 across, 18, 19, 20 (p. 22). 
 Lungs, 4, 5, 6, 7, 8 (p. 13) ; 9 (p. 14) ; 
 
 26 (p. 35); 27, 28 (p. 38)- 
 
 Melody of speech, 63, 64 (p. 109) ; 65 
 (p. in) ; 69, 70 (p. 128) ; 75 (p. 132). 
 
 Monotone, 75 (p. 132). 
 
 Open hand, 41, 42, 43, 44, 45 (p. 79) ; 80 
 
 (P- 137). 
 Palate, 17 Last four parts, reading 
 
 across (c, g, y, ng), 18, 20 (p. 22). 
 Pitch, 34, 35 (p. 51); 61 (p. 108) ; 62, 
 
 63, 64 (p. 109). 
 Placing voice, 10, 11 (p. 16); 12, 13 
 
 (p. 17). 
 Position on platform, i, 2, 3 (p. 9); 4 
 
 (p. 13); 22 (p. 25); 31 (p. 46); 32, 
 
 33 (p. 47); 37, 38 (p. 66); 56, 57 
 
 (p. 105); 58, 59, 60 (p. 106). 
 Quantity, 86 (p. 142). 
 Reflex hand, 81 (p. 137). 
 Relaxing exercises, wrist, hand, and 
 
 fingers, 14 (p. 21); 21 (p. 25); 26 
 
 (p. 35); 27, 28 (p. 38); fingers, 15 
 
 (p. 21); jaw, 19 (p. 22). 
 Semitone, 75 (p. 132). 
 Shoulder, 22 (p. 25); 23 (p. 30); 24 
 
 (p. 31); 26 (p. 35); 27, 28 (p. 38); 
 
 29, 30 (p. 40). 
 
 Stress, 46 (p. 94); 48, 49 (p. 97). 
 Strength of voice, n (p. 16) ; 12, 13 
 
 (p. 17); 65 (p. in). 
 Stroke of gesture, determining its time, 
 
 54 (with any gesture) (p. 100). 
 Tongue, 16 (p. 21); 17 (c, g, y, ng), iS 
 
 (p. 22); 20 (p. 22). 
 Vitalizing exercises, 21, 22 (p. 25); 15 
 
 (p. 21); 26 (p. 35); 27, 28 (p. 38); 
 
 29, 30 (p. 40)- 
 Wrist, 14 (p. 21); 21, 22 (p. 25); 23 
 
 (p. 30); 24 (p. 31); 26 (p. 35); 27, 
 
 28 (p. 38) ; 29, 30 (p. 40) ; 36, 37, 38 
 
 (p. 66); 66 (p. in). 
 
 178 
 
GENERAL INDEX 
 
 Abdominal muscles, function of in breath- 
 ing, 12. 
 
 Accent, definition of, 24; primary, sec- 
 ondary, and tertiary, 24; changed to 
 show contrast, 29; different in same 
 words when used as different parts of 
 speech, 29. 
 
 Action, lines of, on the platform, 82. 
 
 Address, terms of, their inflection, 109; 
 gesture for, 113. 
 
 Addressing the chairman, 80. 
 
 Admonition, gesture in, 135. 
 
 Adoration, gesture for, 134; quantity 
 for, 140. 
 
 Affections, seat of in the chest, 136. 
 
 Aggression, position for, 104. 
 
 Agony, gesture in, 137. 
 
 Alarm, pitch for, 49; rate for, 52. 
 
 Amazement, pitch for, 49 ; rate for, 53 ; 
 position for, 103 ; gesture for, 135. 
 
 Anger, gesture for, 99; quantity for, 
 140. 
 
 Angle, between the feet in speaking posi- 
 tions, 7 ; of forearm and hand in open 
 hand gesture, 75 ; of hand in gesture, 79. 
 
 Anguish, gesture for, 134. 
 
 Appeal, position for, 101 ; quantity for, 
 140. 
 
 Arm, bent at elbow and wrist in gesture, 
 64 ; path of in gesture, 63-64. 
 
 Articulation, 18. 
 
 Attention, lack of in audience, 18. 
 
 Auditorium, size of, effect on force needed 
 in speaking, 7 1 ; ventilation, its effect 
 on force needed, 7 1 . 
 
 Averse gesture, study in, 103. 
 
 Averse hand in gesture, 134. 
 
 Aversion, gesture for, 135. 
 
 Awe, pitch for, 49 ; rate for, 53 ; appro- 
 priate force for, 103 ; monotone in, 
 130; quality of voice for, 148. 
 
 B 
 
 Base, getting it wide enough for gestures, 
 
 81. 
 Beginning of speech, how to deliver the, 
 
 80. 
 
 Boldness, position for, 103. 
 Bow, at the beginning of a speech, 80; 
 
 at the end of a speech, 82. 
 Breathing, general method of, 10-13 > 
 
 test of, 12 ; action of diaphragm in, n ; 
 
 action of abdominal muscles in, 12; 
 
 action of ribs in, 12. 
 
 Cadence, faults, 125-126. 
 
 Calling effect in speaking, 42; proper 
 quantity for, 140. 
 
 Changing position, method for, 7-9. 
 
 Characters, method of securing imperson- 
 ation of, 157. 
 
 Chest, position of in breathing, 13 ; seat 
 of certain sentiments, 135. 
 
 Clasped hand, gesture of, 133; senti- 
 ments expressed by, 134. 
 
 Clauses, pauses in case of, 58 ; made more 
 emphatic by falling inflection, 1 10. 
 
 Clenched hand, gesture of, 98; senti- 
 ments expressed by, 99. 
 
 Cognates, method of pronouncing when 
 in conjunction, 27. 
 
 Combination methods in speaking, 156. 
 
 Commands, their inflection, 1 1 1 ; ges- 
 ture in, 113; quantity for, 140. 
 
 Committed speech, advantages and dis- 
 advantages of, 153. 
 
 Committing a speech, best methods of, 
 168. 
 
 Compass of voice, controls melody, 125; 
 determines pitch, 48. 
 
 Completed mental states, how shown, 
 107; special cases of, iio-m. 
 
 179 
 
i8o 
 
 GENERAL INDEX 
 
 Compound stress, 92 ; sentiments for 
 
 and method of obtaining, 93. 
 Concentration, gesture in, 137. 
 Conciliation, gesture in, 113. 
 Conscience, seat of in the chest, 136. 
 Consonants, long and short, 139. 
 Contempt, quantity for, 140 ; quality of 
 
 voice in, 146. 
 Courage, pitch for, 49 ; position for, 103 ; 
 
 quantity for, 140; quality of voice for, 
 
 144. 
 Crossings on the stage, rules for, 161. 
 
 Defiance, pitch for, 49 ; gesture for, 99 ; 
 position for, 103. 
 
 Delivery, first steps in, 41. 
 
 Denial, gesture in, 135. 
 
 Description, position for, 101 ; gesture 
 for, 113; quantity for, 140. 
 
 Despair, gesture in, 137. 
 
 Determination, gesture in, 114. 
 
 Devotion, pitch for, 49; rate for, 53; 
 monotone in, 130. 
 
 Diaphragm, function of, in breathing, n. 
 
 Dictionary, use of, 23. (See also Web- 
 ster.) 
 
 Dignity, oratorical, position for, 101, 103. 
 
 Distinctness in speaking, 19. 
 
 Dizziness, resultant from breathing 
 exercises, 14. 
 
 Don't's, for public speakers, 82. 
 
 Doubt, inflection appropriate to, 108; 
 gesture in, 114. 
 
 Drawling, its cause and cure, 141. 
 
 Dread, pitch for, 49 ; rate for, 53 ; posi- 
 tion for, 103 ; monotone in, 130. 
 
 E 
 
 Earnestness, pitch for, 49; position 
 for, 101. 
 
 Emotional nature, represented by chest, 
 136. 
 
 Emotional preparation for gesture, 81. 
 
 Emphasis, general treatment, 32-40; 
 similarity to accent, 32 ; degrees of, 
 32 ; Greek origin of word, 32 ; in 
 sentences of more than one idea, 33 ; 
 use with new ideas, 33 ; use in contrast 
 36-37; use in implied contrast, 39; 
 use in climax, 39. 
 
 Emphatic, the, gesture for, 114. 
 
 End of the sentence, inflection where the 
 thought is complete, no. 
 
 Entrances on the stage, 163. 
 
 Entreaty, position for, 101 ; gesture for, 
 134- 
 
 Excitement, rate for, 52. 
 
 Exclamations, their inflection, in. 
 
 Exits on the stage, 163. 
 
 Expiration, process of 12; caution con- 
 cerning, 14. 
 
 Extempore programs, subjects for, 172. 
 
 Extempore speaking, advantages of, 154 ; 
 difficulties of, 155. 
 
 Extreme emotions, long slides for, 131. 
 
 Eyes, kept on the audience, 42. 
 
 Faults, in making the index hand, 64 ; 
 common, in making the open hand, 
 76; in making the clenched hand, 
 97- 
 
 Fear, appropriate force for, 67 ; position 
 for, 103 ; gesture for, 135. 
 
 Feebleness, appropriate force for, 67. 
 
 Final stress, 92 ; sentiments for and 
 method of obtaining, 93. 
 
 Force, how to apply it, 67 ; also, 10-13 ; 
 applied gently, 67 ; applied suddenly, 
 67-69 ; adjustable to place of speak- 
 ing, 71 ; individual, of speaker, 72; 
 sentiments appropriate to gentle 
 force, 72; sentiments for strong force, 
 72 ; method of applying as related to 
 stress, 149; method of applying as 
 related to rate of utterance, 150; 
 degree of as related to rate of utter- 
 ance, 150. 
 
 Fright, quantity appropriate to, 140. 
 
 Gayety, pitch for, 49; rate for, 52. 
 
 Gesture, beginnings of, 62 ; why study, 
 62 ; index hand, 62-63 ; parts of a 
 gesture, 63 ; preparation for, 63 ; 
 finish of, 64 ; return of, 64 ; bent arm 
 in, 64; straight arm in, 64; free wrist 
 in, 64; the open hand, 75-79; pur- 
 poses- ;Ue.d for with palm down, 75 ; 
 purposes used for with palm up, 76; 
 base for, 81 ; too sudden, 81 ; the 
 
GENERAL INDEX 
 
 iSl 
 
 clenched hand, 99; planes of gesture, | 
 112; sentiments appropriate to vari- 
 ous zones, 112-114. 
 
 Gladness, appropriate force for, 70. 
 
 Gloom, gesture for, 114. 
 
 Grammatical pause, 44. 
 
 Grandeur, monotone in, 130. 
 
 Grouping, on the stage, 162. 
 
 H 
 
 Hands, in pockets, 82; behind the 
 speaker, 82 ; clenched hand in speech, 
 98 ; open hand, 75-79 ; the index hand, 
 62 ; clasped, 133 ; averse, 134 ; reflex, 
 136; wrung, 134. 
 
 Hate, gesture for, 99, 114. 
 
 Heroic attitude, 103. 
 
 Honor, seat of in the chest, 136. 
 
 Horror, pitch for, 49; gesture for, 135. 
 
 Hygiene, in training for oratorical con- 
 tests, 170-171. 
 
 Impassioned utterance, position in, 103. 
 Incomplete mental states, how shown, 
 
 107 ; special cases, 107-108. 
 Index gesture, 62 ; the animated index, 
 
 63 ; the directing index, 64. 
 Individual pitch, 49. 
 Inflection (called slide of the voice), 
 
 89; related to stress, 150; related to 
 
 melody, 150. 
 
 Influence of oratorical models, 166. 
 Inspiration, process of, 1 1 ; caution 
 
 concerning, 14. 
 Intermittent stress, 92 ; how to obtain 
 
 and sentiments appropriate to, 96. 
 Interrelation of elements of expression, 
 
 149. 
 Interrupted quotation, inflections for, 
 
 115. 
 
 J 
 
 Johnson, Dr., quoted on styles of speak- 
 ing, 28. 
 
 Joy, pitch for, 49; rate for, 52; appro- 
 priate plane of gesture for, 112 ; quan- 
 tity for, 140. 
 
 Kleiser, Grenville, quoted on pause, 45. 
 
 Laughter, pitch for, 49; quantity for, 
 140. 
 
 Leah Klcskna, scene from, 104. 
 
 Loathing, gesture in, 135. 
 
 Lofty thought, position for, 103 ; quan- 
 tity for, 140. 
 
 Logical faults in speech melody, 123-126. 
 
 Logical pause, 44. 
 
 Loudness in speaking, 41. 
 
 M 
 
 Median stress, 92; how to obtain and 
 sentiments appropriate to, 95. 
 
 Melody of speech, no adequate way of 
 representing it, note 83; not arbi- 
 trary, note 84; general treatment, 
 115; thought governs, 117; general 
 law for, 118; faults in, 123; range, 
 usually too narrow, 124; too sudden 
 drop at the end of the sentence, 125; 
 compass of voice controls, 125 ; sources 
 of power in, 130 ; as related to inflec- 
 tion, 150. 
 
 Mental nature, represented by head, 136. 
 
 Mills, Dr., quoted on voice production, 
 14. 
 
 Mirror, practice before, 42. 
 
 Mispronunciation, feeling * of audience 
 upon hearing, 18. 
 
 Monotone, use of, 130. 
 
 Monsieur Beaucaire, scene from, 104. 
 
 Muscles, training of for speech, 19. 
 
 N 
 
 Narration, appropriate force for, 70; 
 
 position for, 101 ; gestures for, 113; 
 
 quantity for, 140; eyes in, 159. 
 Notes, use in speech making, 154; how 
 
 to take for a speech, 166. 
 
 Oratorical contests, training for, 168. 
 Overpersonation, warning against, 159. 
 Overtraining, for oratorical contests, 170. 
 
 Paragraphs, how to show them in de- 
 livery, 81. 
 
182 
 
 GENERAL INDEX 
 
 Pathos, secured by the semitone, 124. 
 
 Patriotism, appropriate force for, 70, 
 gesture for, 112; seat of in the chest, 
 136; quantity for, 140. 
 
 Pause, general treatment of, 43 ; depend- 
 ent upon thinking, 43 ; ideas in pause 
 likened to stereopticon views, 43 ; 
 breath in, 44 ; idea groups, 44 ; logical 
 and grammatical, 44 ; in case of intro- 
 ductory that and other words, 44 ; gen- 
 eral law for, 44 ; in a series of words, 
 55 ; in clauses, 55 ; in unusual gram- 
 matical and rhetorical construction, 
 56 ; when words are omitted, 56 ; in 
 case of words out of their natural order, 
 56 ; appositives causing, 60 ; parenthet- 
 ical expressions, 60; in case of direct 
 quotation, 60; in case of words used 
 independently, 58-59; for impressive- 
 ness, 59 ; as related to rate of utterance, 
 149. 
 
 Phrases, in a series, made more emphatic 
 by falling inflection, no. 
 
 Pitch, general treatment of, 48; degree 
 of pitch, 48; lines of, not distinctly 
 drawn, 48 ; high, middle, and low, 48 ; 
 sentiments for high, middle, and low, 
 49 ; the step in pitch, 83 ; the slide in 
 pitch, 89, 107, no; as related to rate 
 of utterance, 149. 
 
 Pity, semitone used in, 130. 
 
 Planes of gesture, 112. 
 
 Platform, how to retire from, 82 ; sitting 
 position on, 80; position upon while 
 speaking, 7, 42, 80, 81, 82. 
 
 Pointing, the index hand, 62 ; the open 
 hand, 75. 
 
 Position, usual on the platform, 7-9; 
 second nature, 42 ; when sitting on the 
 platform, 80; at the beginning of a 
 speech, 81 ; its significance, 101 ; 
 studies in, 101 ; position of characters 
 in impersonation, 158; on the stage 
 during a play, 160. 
 
 Power in speech melody, sources of, 
 130. 
 
 Practice, amount of, daily, 16. 
 
 Prayer, clasped hands in, 134. 
 
 Pronunciation, of single words, 18, 23; 
 of words in sentences, 27. 
 
 Punching, to be avoided in gestures, 
 64. 
 
 Purpose, in oratorical writing, 165. 
 
 Quality of voice (called tone color), 143 ; 
 related to element of time, 150. 
 
 Quantity, general treatment, 139 ; appro- 
 priate for different sentiments, 140; 
 related to rate of utterance, 149. 
 
 Questions, their inflection, 109, 112. 
 
 Quotations, inflections for, 115; pause 
 for, 58. 
 
 R 
 
 Radical stress, 92. 
 
 Rate of utterance, 41, 52 ; rapid, medium, 
 and slow, 52; sentiments for rapid, 
 medium, and slow rate, 52-54; at the 
 beginning of a speech, 81 ; number of 
 words per minute, 41, 81 ; as related 
 to pitch, 149; related to pause, 149; 
 related to quantity, 149; related to 
 method of applying force, 150; re- 
 lated to degree of force, 150. 
 
 Reading a speech, method of, 152. 
 
 Reciting, general observations on, 157. 
 
 Recovery, in gesture, 64, 78. 
 
 Reflection, gesture for, 137. 
 
 Reflex hand, in gesture, 136. 
 
 Remorse, gesture for, 134. 
 
 Reproof, gesture for, 135. 
 
 Repulsion, gesture for, 135. 
 
 Retiring from the platform, 82. 
 
 Revenge, gesture for, 99, 114; quality 
 of voice for, 146. 
 
 Reverence, pitch for, 49; rate for, 53; 
 force for, 67 ; quantity for, 140 ; qual- 
 ity of voice for, 144. 
 
 Revising oration, 167. 
 
 Ribs, action of, in breathing, 13. 
 
 Sadness, appropriate force for, 67 ; semi- 
 tone aids in securing, 124. 
 
 Scorn, quality of voice for, 146. 
 
 Self-respect, seat of in the chest, 136. 
 
 Semitone, appropriate for sadness, 130. 
 
 Series of words, pauses in, 55 ; how made 
 emphatic, in. 
 
 Shape, of auditorium, effect on speaking, 
 71. . 
 
 Significance~bf position, 101. 
 
 Sitting position on the platform, 80. 
 
 Slide, the, in pitch, 90 ; rising slide, 89 ; 
 
GENERA^ INDEX 
 
 183 
 
 falling slide, 90; special cases of 
 
 rising slide, 107-108; special cases of 
 
 falling slide, 1 10-1 1 1 ; combination of 
 
 rising and falling, 115; unusually 
 
 long, 131. 
 Solemnity, pitch for, 49; rate for, 53; 
 
 monotone in, 130. 
 Solicitation, position for, 101. 
 Song notes, not used in speech, 123. 
 Sorrow, quantity in, 140. 
 Speaking from notes, method of, 154. 
 Speech notes, different from notes of 
 
 song, 123. 
 
 Spiritual, the, appropriate plane of ges- 
 ture for, 112. 
 Stage department, general observations 
 
 on, 1 60. 
 
 Step, the, in pitch, 83. 
 Strength, position for, 103. 
 Stress, general treatment of, 92 ; related 
 
 to method of applying force, 149; 
 
 related to inflection, 150. 
 Styles of speaking, conversation and 
 
 public speaking different, 28; general 
 
 treatment, 152. 
 Subjects for orations, 165. 
 Sublimity, pitch for, 49; monotone in, 
 
 130; quantity in, 140; quality of 
 
 voice for, 148. 
 
 Suggestion, art of, in reciting, 158. 
 Supplication, gesture for, 134. 
 Surprise, inflection appropriate to, 
 
 108. 
 Syllables, long and short, 139 ; effect in 
 
 producing moods, 140. 
 
 Terms, of address, their inflection, 108 ; 
 
 those used on the stage, 165. 
 Terror, position for, 104; monotone in, 
 
 130; gesture for, 135; quality of 
 
 voice for, 148. 
 
 Thorough stress, 92 ; how to obtain and 
 sentiments appropriate to, 95. 
 
 Throat, tickling of, 16; prescription for 
 relaxed throat, 16. 
 
 Time, element of as related to quality of 
 voice, 150. 
 
 Tone color, general treatment of, 143. 
 
 Training for oratorical contests, 168. 
 
 Treachery, of rules, 108. 
 
 Triumph, appropriate zone of gesture for, 
 
 Veneration, pitch for, 49; rate for, 53. 
 
 Vocal apparatus, general treatment, 
 10 ; arranges itself, 151. 
 
 Vocal illusions, produced by the actor, 
 161. 
 
 Vocatives, their inflection, 108. 
 
 Vocule, method of executing, 27. 
 
 Voice, beauty of, 15 ; clarity of, 15 ; 
 huskiness of, 15 ; caution against 
 loudness of, 15; dentality of, 15; 
 nasality of, 15; tickling in the throat, 
 16; relaxed throat, 16; compass of, 
 48; compass controls melody, 124; 
 tone color of, 143. 
 
 Vowels, configuration for, 19; long and 
 short, 139. 
 
 W 
 
 Waves, speech, 115-116. 
 
 Webster's International Dictionary, 
 
 quoted on styles of speaking, 28. 
 Weight, distribution of, 7, 82. 
 Welcome, gesture for, 113. 
 Words, omitted causing pause, 56; out 
 
 of natural order, 56; only part of 
 
 what we say, 62 ; how to make series 
 
 emphatic, no. 
 Wrist, free, in gesture, 64. 
 Writing an oration, general observation 
 
 on, 165. 
 Wrung hands, 134. 
 
UNIVERSITY OF CALIFORNIA LIBRARY 
 BERKELEY 
 
 Return to desk from which borrowed. 
 This book is DUE on the last date stamped below. 
 
 DEC 5 1947 
 
 LD 21-100m-9,'47(A5702sl6)476 
 
YB 02326 
 
 THE UNIVERSITY OF CALIFORNIA LIBRARY