PUBLIC SPEAKING 
 
 FOR 
 
 NORMAL AND ACADEMY 
 STUDENTS 
 
 BY 
 JAMES WATT RAINE, A. M. 
 
 Professor of English Literature 
 in Berea College 
 
 BEREA COLLEGE PRESS 
 Berea, Kentucky 
 
Copyright, 1909 
 
 Copyright, 1915 
 
 By JAMES WATT RAINE 
 
PREFACE 
 
 A textbook on the art of expression, to be useful to 
 Normal or Academy students, must be simple and practical. 
 Their need is not to absorb an ambitious system, but to 
 learn how to grasp a writer's full meaning and then to 
 express it to the audience exactly, vividly, and forcibly, in 
 a manner natural and easy to themselves, and pleasing to 
 the listeners. 
 
 In selecting a textbook the teacher must usually choose 
 either a book of selections which outlines no course, and 
 suggests no method, or a book that sets forth a "system" 
 which one can scarcely use unless he has studied under 
 the personal direction, of its author. 
 
 The writer believes that a textbook on Public Speak- 
 ing ought to be as usable as a textbook on Arithmetic. 
 The subject-matter should be so arranged that the student 
 can be assigned definite work, and know how he is to study 
 each lesson. This book attempts to supply that need, and 
 is intended to be intelligible and suggestive to teachers 
 that are not professional elocutionists. 
 
 For more advanced study the student is referred to 
 "Principles of Vocal Expression" by Chamberlain and 
 Clark. I should count it great success to do for the pupil 
 in Normal School and Academy what my friend and 
 teacher, Dr. Chamberlain, has done for the College Student. 
 
 [3] 
 
 39394,^ 
 
LET US BE FRIENDS 
 
 One of the first problems confronting the teacher of 
 Reading and Speaking is how to secure in the student a 
 sense of freedom, enthusiasm and enjoyment while speak- 
 ing. "Enjoyment!" exclaims some one, "why, it nearly 
 scares me to death." That is due to the well-meant blund- 
 ers of parents or teachers in your earlier years. As a 
 child, perhaps, your reciting a piece was shown off to 
 admiring friends. Then possibly you had a teacher that 
 told you to learn a selection and recite it for next lesson; 
 and w r hen you recited it as best you could without any 
 suggestions or help, the teacher began to point out faults, 
 sometimes even making fun of them. No wonder that 
 declamation is not a favorite study. 
 
 But the teacher and student together can cure this pain- 
 ful self-consciousness. I will make three suggestions: 
 
 1. Never speak before an audience, talk to them, just 
 as you would if there was only one person present. J>o 
 not think of the audience as a mass, but think of this and 
 that person, sitting here and there, who have come to hear 
 what you have to say to them. They did not come to 
 criticize and censure; you may always feel sure of their 
 friendliness and appreciation. 
 
 2. You are speaking to these friendly people, not because 
 you have superior wisdom, but because you have found 
 something that interests you, and you think it will in- 
 terest them also. If you treat them thus as neighbors and 
 friends, you will not need to flatter them nor to fear 
 them. So, forget yourself, and what folk may think of 
 your appearance; and iix your mind on the interesting sub- 
 ject that has been a pleasure to you, and let yourself enjoy 
 telling them what will no doubt be pleasing to them also. 
 
 3. The student cannot give even the most interesting 
 selection enthusiastically if he must keep his eyes glued 
 to the printed page. "Therefore," say some teachers, "he 
 must memorize the selection." But memorizing, besides 
 taking too much time, also hinders freedom, for he then 
 keeps his mind, if not his eyes, glued to the words; and 
 instead of giving himself fully to his hearers, his attention 
 
 [5] 
 
is focussed's6mw.frerefback'in his brain, where he is care- 
 fully remembering one word and sentence after another. 
 
 The best solution I have found is not to try to memorize 
 (at 1'east for the first few weeks) , but to spend enough time 
 and effort to get the incident vividly before your mind, so 
 that you can see the whole scene with all its details, and 
 then give it to your hearers in your own words, not trying 
 to remember any of the author's sentences, but giving it to 
 your hearers, just as you see it, and be sure you are seeing 
 it all the time you are giving it. 
 
 Following this plan, it will be better to begin with nar- 
 rative selections; those that tell some story or incident 
 without much description. Of course, it will be easier to 
 begin with prose rather than verse. This is not only a 
 good substitute for memorizing, but when you wish to 
 memorize, this is a good way to learn selections without 
 falling into unnatural cast-iro'n tones. 
 
 As you tell the story again and again, you will begin 
 using bits of the author's language without losing your 
 own vividness; and gradually you will substitute more 
 and more of his language until you give it altogether in his 
 words. But you must never forget that it is not so impor- 
 tant to give it in the author's words, as to give it vividly 
 and enjoyably. 
 
 You will notice that in the early lessons of the book, the 
 student is never asked to memorize. 
 
 [6] 
 
LESSON I 
 
 The task of the reader is twofold to get the thought 
 and to give it. He must find out exactly what the Author 
 thinks a'nd feels; when he has fully grasped the meaning 
 and put himself in the Author's place, then he must so ar- 
 range it, present it and explain it that his hearers will 
 get the full meaning also. His task then is (1) interpret- 
 ing the Author's thought, and (2) delivering, or expressing 
 the thought. 
 
 These two processes are very different and equally im- 
 portant. The Reader gets the thought by means of printed 
 words, sentence structure, punctuation, etc. He gives the 
 thought by means of spoken words, and various tones, ex- 
 pression of face, gestures, etc. 
 
 May I say here that punctuation is to help you in get- 
 ting the thought; when giving it, pay no attention what- 
 ever to the punctuation. It is, of course, impossible to 
 give the author's meaning to others, if you have not cor- 
 rectly and fully gotten it yourself. You should, therefore, 
 never begin to read a sentence aloud until you have fully 
 absorbed its thought into your own mind; that is, never 
 begin to give out the author's meaning until you have 
 finished getting it. 
 
 To master the author's meaning, it is necessary to get 
 into your mind everything that was in his mind; not only 
 what he thought about the matter, but also what he felt, 
 and the impulses that stirred him, the hopes that beckoned 
 him, the motives that moved him. If the Reader is to give 
 the Author's meaning fully, he must put himself in the 
 Author's place; he must, as 'nearly as possible, become the 
 Author. 
 
 This process of entering into the life and soul of an- 
 other man, the process of analyzing the Author's thought 
 and meaning, of vividly realizing his position and his pur- 
 pose, this process of interpretation calls for a careful ob- 
 servation, quick intelligence, and sympathetic apprecia- 
 tion. To be a skillful interpreter of the Author's meaning 
 requires every faculty of the mind to be alert and under 
 
 [7] 
 
perfect control. It is an art that can be mastered, but only 
 by careful and constant effort. 
 
 After the Reader knows the Author's mind so thorough- 
 ly, that he can fully and truly interpret it, he must face 
 the problem of transferrihg the Author's thought to the 
 hearers. How can he deliver to them the full meaning that 
 he has himself gained? Delivery is the process of com- 
 municating the thought to the hearers so that they shall 
 enter into the Author's heart, understand his meaning and 
 see from his point of view. This process of expressing the 
 thought requires thorough control of your instrument of 
 expression. For instance, a man may be able to read a 
 piece of music accurately, and yet be unable to play it on 
 a violin. He understands what he wants to express, but 
 has no mastery of that particular means of expression, no 
 skill in the use of that instrument. The same difficulty 
 may occur in speaking. The instrument of the Reader, 
 (or Speaker) consists, of his voice, his face, and his bear- 
 ing. Body, muscles, nerves, all must be fully and instantly 
 responsive to the mind's bidding. If a Speaker has not 
 mastered his instrument, he will express his thoughts 
 with difficulty, fail to give the impression that the author 
 intended, weary his hearers, and contract throat ailments. 
 
 In this course of study, then, you are to learn (1) 
 Interpretation how to understand the mind of the author, 
 how to get his point of view, how to realize his situation, 
 how to enter heartily into his purpose and appreciate his 
 feelings on the subject. 
 
 You next task is to learn (2) Delivery how to give 
 this to others; and that involves (a) the right way to use 
 your voice, so that reading and speaking will be easy and 
 pleasant to you and a pleasure to your hearers. Kidd 
 says, "Ignorance of the right way of using the lungs and 
 the larynx, in speaking, reading, and singing, has caused 
 more cases of bronchitis and pulmonary consumption 
 among students, vocalists, clergymen and other public 
 speakers than all other causes combined." 
 
 It is perhaps equally important to learn (b) the right 
 use of your body in gesture, that you may convey \\ith 
 enthusiasm the whole thought and feeling to your hearers, 
 and not merely a skeleton of it. 
 
 You are now ready to take up the first of these three 
 
 [8] 
 
tasks, namely, to train yourself to interpret exactly and 
 fully the mirui of the Author. 
 
 1. Read this selection carefully two or three times. 
 
 2. Shut your eyes and imagine the incident as it hap- 
 
 pened. 
 
 3. Tell it in your own words, without looking at the 
 
 book. 
 (Practice saying your exercises aloud in your own room.) 
 
 THE PROVIDENTIAL GUEST 
 
 A widow at Dort in Holland, who was very industrious, 
 was left with a son and two daughters. She lived on the 
 edge of the village in a large house in which she employed 
 a number of people in the manufacture of sail cloth and 
 was supposed to be worth four thousand dollars. 
 
 One night, about nine o'clock, a person dressed in uni- 
 form, with a musket and broadsword, came to her house and 
 requested lodging. "I let no lodgings, my friend," said 
 the widow, "and besides I have no spare bed, unless you 
 sleep with my son, which I think very improper, on ac- 
 count of your being a perfect stranger to us." The 
 soldier then showed a passport from the governor of 
 Breda and a discharge from Diesbach's regiment, signed 
 by the major, who gave him an excellent character. The 
 widow, believing the man to be honest, called her son, 
 and asked him if he would accommodate with a part of 
 his bed, a veteran who had served the j^uihiic -..thirty 
 years with reputation. The young man consented; so the 
 soldier was hospitably entertained, and at a seasonable 
 hour withdrew to rest. 
 
 Some hours afterward, a loud knock was heard at the 
 street door, which aroused the soldier, who moved softly 
 down stairs and listened at the hall-door, when the blows 
 were repeated and the door almost broken through by a 
 sledge or some heavy instrument. By this time the widow 
 and her daughters were much alarmed at this violent at- 
 tack, and ran frantically through different parts of the 
 house crying, "murder! murder!" The son joined the 
 soldier, with a case of loaded pistols, and the latter screwed 
 on his bayonet, primed his piece, and told the women to 
 stay in the back room out of the way of danger. 
 
 Soon the door was burst in and two ruffians entered, 
 but were instantly shot by the sdn. Two associates of the 
 dead men immediately returned the fire, but without" ef- 
 fect: then the veteran stranger, taking immedate advan- 
 tage of the discharge of their arms, rushed on them like 
 a lion, ran one through the body with his bayonet, and 
 while the other was running away, lodged the contents of 
 his piece between his shoulders, and he dropped dead on 
 the spot. The son and the stranger then closed the door 
 
 [9] 
 
as well as they could, reloaded their arms, made a good 
 fire, and watched till daylight. 
 
 When the weavers and spinners of the manufactory 
 came in the morning, they were struck with horror and 
 surprise, at seeing the four dead men near the house. 
 The burgomaster attended, and took the testimony of the 
 family about the affair. The bodies of the ruffians were 
 buried in a cross-roa^l, and a stone erected over the grave 
 with a suitable inscription. The widow presented the 
 soldier, who was seventy years old, with one-hundred 
 Builders, and the city settled a handsome pension on him 
 for the rest of his life. 
 
 REVIEW QUESTIONS 
 
 1. Whom do we mean by the Author? 
 Whom do we mean by the Hearer? 
 Whom do we mean by the Reader? 
 Whom do we mean by the Speaker? 
 
 2. Which is more important for us to master, the process 
 
 of getting the Author's meaning, or the process of 
 telling it to our hearers? 
 
 3. Can the Reader give the Author's thought to the 
 
 Hearers if he has mot gotten it fully himself? 
 
 4. Can a good Reader give an audience more of the 
 
 Author's meaning than they could get by reading 
 the printed words themselves? 
 
 5. If you get the Author's exact thought in your own 
 
 mind, will not the communication of it to the hear- 
 ers take care of itself? 
 
 6. When a person speaks to you, do you get his meaning 
 
 through your ears or through your eyes? 
 
 7. Could you understand a man's thought from his ges- 
 
 tures alone? 
 
 8. Could you understand his feelings from his gestures 
 
 alone? 
 
 9. Would it spoil the story of the Providential Guest, if 
 
 you omitted to tell what the widow and the daugh- 
 ters cried out, or where the soldiers told them to stay? 
 
 10. Name three or four things that must not be omitted 
 
 when you tell the story. 
 
 11. When you imagine the scene in Dort, can you see 
 
 anything that is not mentioned in this story? What 
 color is the widow's hair? Is she a large woman or 
 small? Did the soldier wear a beard? How old is 
 the son? 
 
 [10] 
 
LESSON II 
 
 1. Read the following selection carefully. 
 
 2. With closed eyes, imagine that you see the incident 
 
 just as it was happening. 
 
 3. Tell it in your own words without looking at the 
 
 book. 
 
 THE CONSIDERATE PHYSICIAN 
 
 A poor girl, who had just recovered from a fit of sick- 
 ness, gathered up her scanty earnings, and went to the 
 doctor's office to settle her bill. Just at the door, the 
 lawyer of the place passed into the office before her, on a 
 similar errand. 
 
 "Well, doctor," said he, "I believe I am indebted to you, 
 and I should like to know how much." 
 
 "Yes," said the doctor, "I attended upon you about a 
 week; now what would you charge me for a week's ser- 
 vice? or what do you realize, on an average, for a week's 
 service?" 
 
 "0," said the lawyer, "perhaps seventy-five dollars." 
 
 "Very well, then, as my time and profession are as val- 
 uable as yours, your bill is seventy-five dollars." 
 
 The poor girl's heart sunk within her, for should her 
 bill be anything like that, how could she ever pay? The 
 lawyer paid his bill and passed out, when the doctor 
 turned to the young woman, and kindly inquired her 
 errand. 
 
 "I come," said she, "to know what I owe you, although 
 I do not know that I can ever pay you." 
 
 "I attended you about a week/' said he. 
 
 "Yes, sir!" 
 
 "What do you earn a week?" 
 
 "Seventy-five cents." 
 
 "Is that all?" 
 
 "Yes, sir." 
 
 "Then your bill is seventy-five cents." 
 
 The poor girl paid him thankfully, and went back with 
 a glad heart. 
 
 1. Master the meaning of what Wolsey says below. 
 
 2. Write it out in your own words, giving Wolsey's 
 
 thought and feeling just as he might have given it 
 in other words. 
 
 [11] 
 
Caution: Do not say, "Wolsey says he has been 
 foolish," etc., but put it into the words he might have 
 used, e. g., "I have been foolish; like rash boys that cannot 
 swim I have gone beyond a safe depth/' etc. 
 3. Practice telling it so as not to omit anything impor- 
 tant. 
 
 Wolsey: 
 
 Farewell, a long farewell, to all my greatness! 
 This is the state of man: today he puts forth 
 The tender leaves of hopes, tomorrow blossoms, 
 And bears his blushing honors thick upon him; 
 The third day comes a frost, a killing frost; 
 And (when he thinks, good easy man, full surely 
 His greatness is a ripening) nips his root, 
 And the ; n he falls, as I do. I have ventured, 
 Like little wanton boys that swim on bladders, 
 This many summers in a sea of glory, 
 But far beyond my depth: my high-blown pride 
 At length broke under me; and now has left me, 
 Weary and old with service, to the mercy 
 Of a rude stream that must for ever hide me. 
 Vain pomp, and glory of this world, I hate ye; 
 I feel my heart 'new opened: 0, how wretched 
 Is that poor man, that hangs on princes 1 favors! 
 There is betwixt that smile we would aspire to, 
 That sweet aspect of princes, and their ruin, 
 More pangs and fears than wars or women have; 
 And when he falls, he falls like Lucifer, 
 Never to hope aarain. 
 
 Shakespeare's Henry VIII. 
 
 1. Read the following stanzas carefully; look up any- 
 
 thing you do not understand. 
 
 2. Ima-gine that you are with Wordsworth, and make 
 
 yourself see everything he saw. 
 
 3. Write out fully the picture you have in your mind. 
 
 4. Tell tho class about it, using Wordsworth's words 
 
 when they happen to come into your mind. 
 
 THE DAFFODILS 
 
 I wandered lonely as a cloud 
 
 That floats on high o'er vales and hills: 
 
 When all at once I saw a crowd, 
 A host, of golden daffodils, 
 
 Beside the lake, beneath the trees, 
 
 Fluttering and dancing in the breeze. 
 [12] 
 
Continuous as the stars that shine 
 And twinkle on the Milky Way, 
 
 They stretched in never ending line 
 Along the margin of a bay: 
 
 Ten thousand saw I at a glance, 
 
 Tossing their heads in sprightly dance. 
 
 The waves beside them danced; but they 
 Outdid the sparkling waves in glee; 
 
 A poet could not but be gay 
 In such a jocund company. 
 
 I gazed and gazed but little thought 
 
 What wealth the show to me had brought: 
 
 For oft, when on my couch I lie 
 
 In vacant or in pensive mood, 
 They flash upon that inward eye 
 
 Which is the bliss of solitude; 
 And then my heart with pleasure fills, 
 And dances with the daffodils. 
 
 Wordsworth. 
 
 REVIEW QUESTIONS 
 
 1. Is it easy to imagine a scene clearly and vividly or do 
 
 you have to fix your mind on it with effort? 
 
 2. Is Wolsey standing, sitting, or lying down when he 
 
 speaks? Is he young or old? 
 
 3. In Wordsworth's, poem is it a clear day or cloudy? Is 
 
 it windy or mild? Any hills in the picture? Any 
 houses? Any people? 
 
 4. Which of these scenes can you imagine most easily? 
 
 Is it because you have seen scenes similar to that? 
 
 5. Will a drum give a crisp tone if either *of the drum- 
 
 heads is flabby? 
 
 6. If the body of a violin .is broken, will it make any 
 
 difference in the tone? If you stretch violin strings 
 across a green pumpkin shell will you get a resonant 
 tone? Can you tell the reason? Would soft wood 
 make a good violin? 
 
 EXERCISES 
 
 We cannot here attempt to study the physiology of the 
 voice. The student's attention, however, is directed to a 
 few of the essential facts. The human voice is a string in- 
 strument rather than a wind instrument. The tones of the 
 
 [13] 
 
voice are produced in the throat by the vibrating of the 
 vocal chords. They should vibrate freely, like the strings 
 of a violin, over a body of still air. To give the vocal 
 chords free play the body should be held erect and the 
 chords relieved from any strain caused by muscular pres- 
 sure or unnatural position. To secure a column of quiet 
 air the chest should be expanded and the breath inhaled 
 and exhaled without puffing it through the vocal chords 
 as if the voice were a sort of trumpet. Hoarseness and 
 various other ailments are caused by neglect of these two 
 great vocal requirements. 
 
 The Exercises should be practiced faithfully a few 
 minutes every day; and as a result you will attain to a 
 smooth, pure tone, a good volume of sound, and ease in 
 speaking. 
 
 1. a. Stand erect, heels together, with the arms extended 
 
 in front, at the height of the shoulders, palms to- 
 gether. 
 
 b. Spread arms, keeping them level with shoulders. 
 
 c. Return front. 
 
 d. Repeat eight times. 
 
 2. a. Stand erect with arms down at sides. 
 
 b. Raise arms sideways to level of shoulders. 
 
 c. Return. 
 
 d. Repeat eight times. 
 
 3. a. Arms down at sides. 
 
 b. Raise arms in front to level of shoulders. 
 
 c. Return. 
 
 d. Repeat eight times. 
 
 4. a. Arms down at sides. 
 
 b. Slowly raise arms sideways till they meet over- 
 
 head, inhaling at the same time. 
 
 c. Slowly return arms to sides, while exhaling. 
 
 d. Repeat eight times. 
 
 [14] 
 
LESSON III 
 
 The first thing in studying a passage is to get the gist 
 of it, to find the Author's main thought, to grasp his mean- 
 ing as a whole. 
 
 1. Read and re-read the following until you get the 
 
 thought completely. 
 
 2. Write out the substance of it, the main thought, in 
 
 twenty-five to thirty words. This is called a Con- 
 densative Paraphrase. 
 
 3. Condense each paragraph into ten or fifteen words. 
 
 THE TRUE KINGS OF THE EARTH 
 
 Mighty of heart, mighty of mind "magnanimous" to 
 be this is indeed to be great in life; to become this un- 
 ceasingly is indeed to "advance in life 1 ' in life itself not 
 in the trappings of it. Do you remember that old Scythian 
 custom? How, when the head of the house died, he was 
 dressed in his finest dress, and set in his chariot, and car- 
 ried about to his friends' houses; and each of them placed 
 him at his table's head, and all feasted in his presence. 
 
 Suppose it were offered to you in plain words, as it 
 is offered to you in dire facts, that you should gain this 
 Scythian honor, gradually, while you yet thought your- 
 self alive. Suppose th-3 offer were this: You shall die 
 slowly; your blood shall daily grow cold, your flesh pet- 
 rify, your heart beat at last only as a rusty group of iron 
 valves. Your life shall fade from you, and sink through 
 the earth into the ice of Gaina; but, day by day, your body 
 shall be dressed more gaily, and set in higher chariots, and 
 have more orders on its breast crowns on its head, if you 
 will. Men shall bow before it, stare and shout around it; 
 feast it at their table's heads all the night long; your soul 
 shall stay enough with it to know what they do, and to feel 
 the weight of the golden dress on its shoulders, and the 
 furrow of the crown edge on the skull no more. Would 
 you take the offer verbally made by the death-angel? 
 Would the meanest among us take it, think you? 
 
 Yet practically and verily we grasp at it, every one of 
 us, in a measure; many of us grasp at it in its fulness of 
 horror. Every man accepts it, who desires to advance in 
 life without knowing what life is; who means only that 
 he is to get more horses, and more servants, and more fur- 
 CIS] 
 
niture, and more public honor, and not more personal 
 soul. He only is advancing in life whose heart is getting 
 softer, whose blood warmer, whose brain quicker, whose 
 spirit is entering into living peace. And the men who have 
 this life in them are the true lords or kings of the earth 
 they, and they only. John Ruskin. 
 
 Study Rock of Ages and write a condensative para- 
 phrase of it in twenty-five to thirty words. This para- 
 phrase must be in your own words. Try to give all the 
 explanations needed to make the meaning quite clear; 
 so that all the questions one might reasonably ask about 
 this or that word, phrase, or clause, will be answered in 
 your paraphrase. Not, of course, in question-and-answer 
 form, but by the transparent clearness of the paraphrase. 
 Try also to express the same feeling of reverence and grat- 
 itude in your paraphrase as there is in the poem. 
 
 Rock of Ages, cleft for me, 
 
 Let me hide myself in Thee; 
 
 Let the water and the blood, 
 
 From Thy riven side which flowed, 
 
 Be of sin the double cure, 
 
 Cleanse me from its guilt and power. 
 
 Not the labors of my hands 
 Can fulfill Thy law's demands; 
 Could my zeal no respite know, 
 Could my tears for ever flow, 
 All for sin could not atone; 
 Thou must save, and Thou alone. 
 
 Nothing in my hand I bring, 
 Simply to Thy cross I cling; 
 Naked, come to Thee for dress, 
 Helpless, look to Thee for grace; 
 Foul, I to the fountain fly, 
 Wash me, Saviour, or I die. 
 
 While I draw this fleeting breath, 
 When my eyelids close in death, 
 When I soar to worlds unknown, 
 See Thee on Thy judgment throne, 
 Rock of Ages, cleft for me, 
 Let me hide myself in Thee. 
 
 Augustus Toplady. 
 
 [16] 
 
EXERCISES 
 
 The diaphragm is a muscular 
 membrane that separates the vis- 
 cera from the lungs. When re- 
 laxed it has the position shown 
 by the black line. When firmly 
 drawn down as shown by the 
 dotted lines it enlarges the waist 
 and thus increases the size of the 
 air chamber. When the dia- 
 phragm is thus held tense it gives 
 a clear bell-like resonance to the 
 voice; when relaxed the voice 
 will be muffy (like the tone of a 
 drum when the lower drumhead 
 is not firmly stretched.) Obser- 
 vation of a healthy child asleep 
 will show how prominent is the 
 diaphragm's action. 
 First, repeat Exercises 1 to 4, and then continue with 
 
 5. a. Place finger tips on upper chest. 
 
 b. Take in a full breath. 
 
 c. Exhale, while pressing with fingers. 
 
 d. Repeat four times. 
 
 6. a. Place hands on abdomen. 
 
 b. Inhale, stretching abdomen to fullest extent. 
 
 c. Exhale, while pressing with fingers. 
 
 d. Repeat four times. 
 
 7. a. Place hands on sides, fingers straight out. 
 
 b. Inhale, stretching sides out against hands. 
 
 c. Exhale, while pressing with palms. 
 
 d. Repeat four times. 
 
 8. a. Place hands on sides, thumbs front, finger tips on 
 
 loins. 
 
 b. Inhale to fullest extent, pressing against fingers. 
 
 c. Exhale, while pressing with fingers. 
 
 d. Repeat four times. 
 
 Note: The chest, or air chamber, should expand in all 
 three directions at once. It is important to practice Exer- 
 cise 6 thoroughly. In stretching the abdomen to inhale, 
 the diaphragm moves downward and becomes tense. You 
 will soon learn to contract and relax the diaphragm at 
 will without pushing it down by inbreathing. 
 
LESSON IV 
 
 1. Study Patrick Henry's speech and write out the gist 
 
 of it in less than fifty words. 
 
 2. a. Condense each paragraph of the speech into ten or 
 
 fifteen words. 
 
 b. Read over these eight sentences you have written 
 and combine all into one. 
 
 3. Compare this with your paraphrase of the whole. 
 
 (No. 1.) 
 
 1. Mr. President: No man thinks more highly than I do 
 of the patriotism, as well as abilities, of the very worthy 
 gentlemen who have just addressed the house. But dif- 
 ferent men often see the same thing in a different light, 
 and, therefore, I hope it will not be thought disrespectful to 
 these gentlemen, if, entertaining as I do opinions very op- 
 posite to theirs, I shall speak forth my sentiments freely 
 and without reserve. This, sir, is no time for ceremony. 
 The question before the house is one of awful moment to 
 this country. For my part, I consider it nothing less than 
 a question of freedom or slavery. 
 
 2. I have but one lamp by which my feet are guided; 
 and that is the lamp of experience. I know of no way of 
 judging the future but by the past. And, judging by the 
 past, I wish to know what there has been in the conduct 
 of the British ministry, for the last ten years, to justify 
 those hopes with which the gentlemen have been pleased 
 to solace themselves and the house? Is it that insidious 
 smile with which our petition has been lately received? 
 Trust it not, sir; it will prove a snare to your feet. Suffer 
 not yourselves to be betrayed with a kiss. Ask your- 
 selves how this gracious reception of our petition comforts 
 with those warlike preparations which cover our waters, 
 and darken our land. Are fleets and armies necessary to a 
 work of love and reconciliation? Have we shown our- 
 selves so unwilling to be reconciled, that force must be 
 called in to win back our love? 
 
 3. Let us not deceive ourselves, sir. These are the 
 implements of war and subjugation the last argument to 
 which kings resort. I ask, gentlemen, sir, what means this 
 martial array, if its purpose be not to force us to submis- 
 sion? Can gentlemen assign any other possible motive for 
 it? Has Great Britain any enemy in this quarter of the 
 world to call for this accumulation of navies and armies? 
 
 [18] 
 
No, sir, she has none. They are meant for us; they can be 
 meant for no other. They are sent over to bind and rivet 
 upon us those chains which the British ministry have 
 been so long forging. And what have we to oppose to 
 them? Shall we try argument? Sir, we have been trying 
 that for the last ten years. Have we anything new to offer 
 upon the subject? Nothing. 
 
 4. We have held the subject up in every light of which 
 it is capable; but it has been all in vain. Shall we resort 
 to entreaty and humble supplication? What terms shall 
 we find which have not been already exhausted? Let us 
 not, I beseech you sir, deceive ourselves longer. Sir, we 
 have done everything that could be done to avert the 
 storm which is now coming on. We have petitioned; we 
 have remonstrated; we have supplicated; we have pros- 
 trated ourselves before the throne. Our petitions have 
 been slighted; our remonstrances have produced additional 
 violence and insult; our supplications have been disregard- 
 ed, and we have been spurned with contempt from the 
 foot of the throne. 
 
 5. In vain, after these things, may we indulge the fond 
 hope of peace and reconciliation. There is no longer any 
 room for hope. If we wish to be free: if we mean to pre- 
 serve inviolate those inestimable privileges, for which we 
 have been so long contending; if we mean not basely to 
 abandon the noble struggle, in which we have been so long 
 engaged, and which we 'have pledged ourselves never to 
 abandon until the glorious object of our contest shall be 
 obtained^ we must fight! I repeat it, sir, we must fight! 
 
 6. An appeal to arms, and to the God of hosts, is all 
 that is left us. 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 next week or the next year? 
 Will it be when we are totally disarmed, 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 pur backs, and hugging the delusive phantom 
 of hope, until our enemies shall have bound us hand and 
 foot? 
 
 7. Sir, we are not weak if we make the 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 
 ol nations, and who will jraise up friends to fight our bat- 
 tles for us. The battle, sir, is not to the strong alone, it is 
 to the vigilant, the active, the brave. "Besides, sir, we have 
 no election. If we were base enough to desire it, it is now 
 
 [19] 
 
too late to retreat from th.e contest. There is no retreat 
 but in submission and slavery. Our chains are forged. 
 Their clanking may be heard on the plains of Boston! The 
 war is inevitable, and let it come! I repeat it, sir, let it 
 comej ' 
 
 8. It is in vain, sir, to extenuate the matter. Gentlemen 
 may cry peace, peace, but there is no peace. The war is 
 actually begun! The next gale that sweeps from the North 
 will bring to our ears the clash of resounding arms! Our 
 brethren are already in the field! Why stand we here 
 idle! What is it that gentlemen wish? What would they 
 have? Is life so dear, or peace so sweet, as to be purchased 
 at the price of chains and slavery? Forbid it, Almighty 
 God! I know not what course others may take, but as for 
 me, give me liberty, or give me death! Patrick Henry. 
 
 EXERCISES 
 
 Practice Exercises 1 to 8. Then continue 
 9. a. Inhale slowly, stretching all parts at once. 
 
 b. Hold the breath 5 to 10 seconds. 
 
 c. Exhale easily. 
 
 d. Repeat four times. 
 
 10. a. Inhale slowly, stretching all parts at once. 
 
 b. Hold the breath 5 to 10 seconds. 
 
 c. Exhale quickly, while keeping the chest up. 
 
 d. Repeat four times. 
 
 11. a. Inhale quickly, stretching all parts at once. 
 
 b. Hold the breath 5 to 10 seconds. 
 
 c. Exhale easily. 
 
 d. Repeat four times. 
 
 12. Thrust abdominal walls out, and draw them in al- 
 
 ternately, four or five times. 
 
 [20] 
 
LESSON V 
 
 The aim of the condensative paraphrase is to get at the 
 heart of the matter, to sift out the non-essential and fix at- 
 tention on the main thing. 
 
 It is a good way to test whether a passage has unity of 
 structure, one main thought, and everything else subor- 
 dinate to that, or whether it is a mere heap of unarranged 
 scraps. Persistent practice in condensing will enable you 
 to make the main thought stand out without confusion, and 
 show just how the lesser things are connected with it. 
 
 Now after we have found the author's main thought and 
 thus focused our attention upon the dominant idea, we 
 need also to see it vividly and dwell upon its details long 
 enough to absorb its full significance; until the vague haz- 
 iness with which we first perceived the meaning changes 
 to a clear, definite, rich possession of the full import of the 
 passage. We can do this by making an expansive para- 
 phrase. Let your mind dwell on the thoughts and feel- 
 ings contained in the passage until others arise, such as 
 must have been in the Author's mind when he wrote this. 
 Ask yourself, what was the Author's situation, why did he 
 write this, what were his feelings when he wrote it, what 
 other thoughts were, or might have been, in his mind at 
 that time? 
 
 He is the skilful reader who succeeds in bringing up in 
 the minds of his hearers vivid images of the scenes and 
 persons described. To do this he must have in his own 
 mind a clear picture of everything he would convey. The 
 persons must become real to him for the time. So real 
 must the picture be to the reader that he would be able to 
 answer questions about details that were not named by the 
 author. This habit of picturing is the chief secret of ef- 
 fective and impressive reading. 
 
 The following examples of expansive paraphrase may 
 be suggestive. It is not enough to use other words. Try to 
 express all the thought. Picture it in your own mind. 
 
 Suppose you were asked to paraphrase the first sen- 
 tence in the twenty-third Psalm. 
 
 [21] 
 
Passage The Lord is my shepherd, 
 
 I shall not want. 
 Paraphrase 
 
 No matter what may happen, I shall not be left helpless 
 or unprovided, for the all-powerful Jehovah is caring for 
 me as kindly as a shepherd tends his sheep. 
 
 Passage 
 
 Rock of Ages, cleft for me, 
 
 Let me hide myself in Thee; 
 
 Let the water and the blood, 
 
 From Thy riven side which flowed, 
 
 Be of sin the double cure, 
 
 Cleanse me from its guilt and power. 
 Paraphrase 
 
 0, thou Savior, with whom we can be as safe and un- 
 shaken as on a great rock, Thou hast suffered on account 
 of my sin such agony of soul that it seemed as if it would 
 break Thy heart and shatter Thee. 0, let me hide in Thy 
 protection from the guiltiness that pursues me, and the 
 temptation that besets me. In thy very life cleanse and heal 
 me. Give me rest from this terrible sense of guilt, and 
 make me strong enough to conquer the power of sin's 
 temptations. 
 
 Expand the following into 50 to 75 words each. 
 Ill every case try to make the picture clearer, fuller, and 
 more vivid. 
 
 1. Make a joyful noise unto Jehovah, all ye lands, 
 Serve Jehovah with gladness. 
 
 Gome before hi.s presence with singing. 
 
 2. Oh that I could fly away and be at rest. 
 
 3. Right forever on the scaffold, wrong forever on the 
 
 throne; 
 But that scaffold sways the future, and behind the 
 
 dim unknown 
 Standeth God within the shadow, keeping watch above 
 
 His own. 
 
 4. Lives of great men all remind us 
 We can make our lives sublime. 
 
 5. Rejoice, young man, in thy youth. 
 
 6. Roll on, thou deep and dark blue ocean, roll. 
 
 7. the long and dreary Winter, 
 the cold and cruel Winter. 
 
 [22] 
 
EXERCISES 
 
 lake Exercises 1 to 12, then follow with 
 
 13. a. Thrust the diaphragm down. 
 
 b. Let diaphragm recede easily. 
 
 c. Repeat four times. 
 
 14. a. Thrust diaphragm down (as in 13). 
 
 b. Contract the lower abdominal muscles. 
 
 c. Let muscles relax. 
 
 d. Repeat four times. 
 
 15. a. Inhale slowly, keeping chest up, and stretching the 
 
 waist. 
 
 b. Blow strongly through a very small opening of the 
 lips, stretching the waist all the time. 
 
 c. Let muscles relax. 
 
 d. Repeat four times. 
 
 Note: The student will probably find these exercises 
 easier if he lays his wrists on his waist with the hands 
 stretched over the abdomen. No. 14 makes all the walls of 
 the air chamber firm, and tense enough to make the tone 
 resonant instead of muffled or breathy. 
 
 [23] 
 
LESSON VI 
 
 Read the following narratives carefully, picturing them 
 to yourself, make them re-live until they tingle with life, 
 and then tell each to the class. 
 
 POETIC JUSTICE ON A STREET CAR 
 
 A conductor on a street car had refused to take a trans- 
 fer on the ground that it was long after the hour punched. 
 The passenger was politely told that under the rules, the 
 transfer could not be accepted, and that he would have to 
 pay his fare or leave the car. 
 
 "I'll not pay, and I'll not leave the car," said the 
 passenger savagely. 
 
 "I'll pay for you then, 1 ' said the conductor, ringing up 
 the faro. "I'd rather lose five cents than wrangle w r ith a 
 passenger." 
 
 This would doubtless have closed the incident had not 
 the irate passenger seen "Abe" Hummel, a well-known law- 
 yer, sitting opposite him, and appealed to him to know if 
 he was right or wrong in refusing to pay his fare. 
 
 "Do you wish my legal advice?" asked Mr. Hummel, 
 with a show of gravity. 
 
 "I do." . 
 
 "I never give legal advice without a fee." 
 
 "Well, here's a five-dollar bill," said the passenger, 
 peeling off a bill from a big roll, and handing it to Mr. 
 Hummel, who promptly accepted it. 
 
 "My advice is, pay your fare or get off the car." 
 
 "Ts that all?" 
 
 "No," replied Mr. Hummel. Then calling the conductor, 
 and handing him the bill, he remarked, "It is certainly 
 worth that much to find and reward a gentlemanly con- 
 ductor." 
 
 A HOSPITABLE GRUMBLER 
 
 When Anthony Trollope was a young man in the postal 
 service of Great Britain, one of his duties was to investi- 
 gate complaints made by the public. On one occasion he 
 was sent to visit a gentleman in Ireland, who had com- 
 plained in frequent letters of the injury done him by some 
 of the postal arrangements. 
 
 It was midwinter, and I drove up to his house (a 
 squire's country-seat) in a snow-storm, just as it was get- 
 ting dark. I was on an open jauntins-ear, and was cer- 
 tainly very cold, and very wet when I entered the house. 
 
 [24] 
 
I was admitted by a butler, but the gentleman himself 
 hurried into the hall. I at once began to explain my 
 business. 
 
 "Bless me!" he said, "you are wet through. John get 
 Mr. Trollope some teavery hot." 
 
 I was beginning my postal story again when he himself 
 took oil' my great coat, and suggested that I should go up 
 to my bedroom before I troubled myself with business. 
 
 "Bedroom!" I exclaimed. Then he assured me that he 
 would not allow a dog to depart on such a night as that, 
 and into the bedroom I was shown, having first drunk the 
 tea standing at the drawing room fire. 
 
 When I came down I was introduced to his daughter, 
 and the three of us went in to dinner. I shall never forget 
 his righteous indignation when I again brought up the 
 postal question. Was I such a Goth as to contaminate 
 dinner with business? So I finished dinner, and then 
 heard the young lady sing, while her father slept in his 
 arm-chair. I spent a very pleasant evening, but my host 
 was too sleepy to hear anything about the post-office that 
 night. 
 
 It was absolutely necessary that I should go away the 
 next morning after breakfast, and I explained that the 
 matter must be discussed then. He shook his head and 
 wrung his hands in unmistakeable disgust almost in 
 despair. 
 
 "But what am I to say in my report?" I asked. 
 
 "Anything you please," he said. "Don't spare me, if 
 you want an excuse for yourself. Here I sit all the day, 
 with nothing to do; and I'like to write letters." 
 
 I did report that Mr. So-a-nd-so was now quite satisfied 
 with the postal arrangements of his district, and I felt a 
 soft regret that I should have robbed my friend of his oc- 
 cupation. 
 
 FRED EVANS 
 
 Fred Evans was a boy who worked on the dump in an 
 Illinois coal mine. One day there was a cave-in, and the 
 earth and coal in settling imprisoned sixty men. The 
 foreman of the rescuing partv saw the small opening that 
 the cave-in had left between them and the outer world, and 
 he asked this boy if he would dare to help them. "The 
 hole is just big enough for you to crawl through," he said, 
 "and to drag a hose pipe after you. You'll have to be 
 mightv careful, or the coal will settle and crush your life 
 out. But if you can get it through to them, then we can 
 pump air enough in to keep them alive till we can dig 
 them out. Are you willing to try it?" And Fred answered, 
 "I'll try my best." 
 
 He crawled six-hundred feet, and many a time stopped, 
 and those outside gave up hope, but at last there was a 
 
 [25] 
 
faint call that told them he was there; they began pumping 
 air and water and milk through the pipe and kept it up for 
 a week, when Fred and the whole sixty were safely brought 
 out and given back to their families. 
 
 GENERAL HOWARD'S COURTESY 
 
 An interesting story is told concerning General 0. 0. 
 Howard. During Sherman's las_t campaign in the South 
 certain changes in commanders were made, and General 
 Howard was placed at the head of a special division. Soon 
 after this the war closed, and there was to be a grand re- 
 view of the army 'at Washington. The night before the re- 
 view Sherman sent for Howard and said, "The political 
 friends of the man you succeeded are bound that he shall 
 ride at the head of the corps, and I want you to help me 
 out." "It is my command," said Howard, "and I am en- 
 titled to ride at its head." "Of course you are," responded 
 Sherman, "but, Howard, you are a Christian, and can stand 
 the disappointment." "If you put it on that ground," said 
 Howard, "there is but one answer. Let him ride there." 
 "Yes let him have the honor," said Sherman, "but 
 you will report to me at nine o'clock, and ride by my 
 side at the head of the army." Howard protested, but his 
 commander's orders were positive, and he rode with the 
 general-in-chief at the head of the whole army. 
 
 EXERCISES 
 
 Take exercises 1 to 15 (without repetition) then con- 
 tinue with 
 
 16. a. Standing erect, with chest up, inhale slowly. 
 
 b. Exhale while saying u ah." 
 
 c. Repeat four times 
 
 Notice how breathy the tone is, especially when the 
 breath becomes nearly exhausted. 
 
 17. a. Inhale slowly, hold the breath a few seconds. 
 
 b. Say or sing "ah," stretching the waist all the 
 time. 
 
 c. Relax and repeat four times. 
 
 This exercise is the Keystone. It is the same as No. 14, 
 with the addition of producing a resonant or "pure" tone. 
 The difference between the breathy tone in No. 16 and this 
 tone is due to the tenseness of the diaphragm and abdomen 
 in this exercise. 
 
 A pure tone gives the maximum of resonance with the 
 minimum of effort. 
 
 [26] 
 
LESSON VII 
 
 1. Write out an expansive paraphrase of these beautiful 
 
 lines of Rowland Sill. 
 
 2. Tell us the substance of your paraphrase without 
 
 looking at your paper. Tell it enthusiastically. 
 
 OPPORTUNITY* 
 
 This I beheld, or dreamed it in a dream: 
 
 There spread a cloud of dust along a plain; 
 
 And underneath the cloud, or in it, raged 
 
 A furious battle, and men yelled, and swords 
 
 Shocked upon swords and shields. A prince's banner 
 
 Wavered, then staggered backward, hemmed by foes. 
 
 A craven hung along the battle's edge, 
 
 And thought, "Had I a sword of keener steel 
 
 That blue blade that the king's son bears) but this 
 
 Blunt thing!" he snapt and flung it from his hand, 
 
 And lowering crept away a'nd left the field. 
 
 Then came the king's son, wounded, sore bestead 
 
 And weaponless, and saw the broken sword, 
 
 Hilt buried in the dry and trodden sand, 
 
 And ran and snatched it, and with battle shout 
 
 Lifted afresh he hewed his enemy down, 
 
 And saved a great cause that heroic day. 
 
 3. Write out an expansive paraphrase of the following 
 by Tennyson. 
 
 4. Tell us the substance of it freely and vividly, with- 
 out your paper. 
 
 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. 
 
 Twilight and evening bell, 
 
 And after that the dark! 
 And may there be no sadness of farewell, 
 
 When I embark. 
 
 'Reprinted by kind permission of Houghton, Mifllin & Company. 
 
 [27] 
 
For tho 1 from out our bourne of Time and Place 
 
 The flood may bear me far, 
 I hope to see my Pilot face to face 
 
 When I have crossed the bar. 
 
 5. Write out an expansive paraphrase of "My Sym- 
 phony," by William Henry Changing. 
 
 To live content with small means, to seek elegance 
 rather than luxury, and refinement rather than fashion; 
 to be worthy, not respectable; and wealthy, not rich; to 
 study hard, think quietly, talk gently, act frankly; to listen 
 to stars, and birds, to babes and sages, with open heart; to 
 bear all cheerfully, do all bravely, await occasions, hurry 
 never; in a word, to let the spiritual, unbidden and un- 
 conscious, grow up through the common. This is to be my 
 symphony. 
 
 EXERCISES 
 
 Take Exercises 1 to 17 (without repetitions) then con- 
 tinue with. 
 
 18. a. Inhale slowly, hold a few seconds. 
 
 b. Say or sing "oh, oh, oh, oh," keeping diaphragm 
 and abdomen comfortably tense. 
 
 c. Relax, and repeat four times. 
 
 19. a. Inhale slowly. 
 
 b. While holding diaphragm and abdomen comfort- 
 ably tense, say or sing "ah" on each degree of the 
 scale, up and down. 
 
 c. Relax, and repeat four times. 
 
 d. Same, changing "ah" to "oh, oh, oh." 
 
 20. a. Same, substituting for "ah" the numbers one, two, 
 
 three, four, five, six, seven, eight, nine, ten, 
 b. Same, substituting short sentences, as: Roll on 
 thou deep and dark blue ocean. 
 
 Note: Probably you will not be able at first to go up 
 and down the scale without relaxing. Therefore go up, 
 then relax, take a fresh start and go down the scale. 
 
 When speaking do not inhale too full a breath, so that 
 you feel stuffed. Let the lungs be comfortably full of quiet 
 air. If you let air out while speaking, you will give the 
 impression of weariness. 
 
 [28] 
 
LESSON VIII 
 
 1. Write out a clear, vivid, complete condensative para- 
 
 phrase (50-75 words) of this selection. 
 
 2. Write out vividly and fully an expansive paraphrase 
 
 of all the speeches in the selection, keeping them 
 in the first person. 
 
 3. Tell the story (without looking at the book, of 
 
 course), so vividly as to make your hearers see it. 
 You cannot do this successfully in class unless you 
 have done it several times in your study. 
 
 DAVID AND GOLIATH 
 
 1. Now the Philistines gathered together their armies 
 to battle. And the Philistines stood on the mountain on the 
 o'ne side, and Israel stood on the mountain on the other 
 side: and there was a valley between them. And there 
 went out a champion out of the camr of the Philistines, 
 named Goliath, of Gath, whose height was six cubits and 
 a span. And he had a helmet of brass upon his head, and 
 he was clad with a coat of mail; and the weight of the coat 
 was five thousand shekels of brass. And he had greaves 
 of brass upon his legs, and a javelin of brass between his 
 shoulders. And the staff of his spear was like a weaver's 
 beam; and his spear's head weighed six hundred shekels 
 of iron; and his shield-bearer went before him. 
 
 2. And he stood and cried unto the armies of Israel, and 
 said unto them, Why are ye come out to set your battle in 
 array? am not I a Philistine, and ye servants to Saul? 
 Choose you a man for you and let him come down to me. 
 If he be able to fight with me, and kill me, then will we be 
 your servants; but if I prevail against him and kill him, 
 then shall ye be our servants, and serve us. And when 
 Saul and all Israel heard those words of the Philistine, 
 they were dismayed, and greatly afraid. 
 
 3. And David said to Saul, Let no man's heart fail be- 
 cause of him; thy servant will go and fight with this Phil- 
 istine. And Saul said to David, Thou art not able to go 
 against this Philistine to fight with him; for thou art but a 
 youth, and he a man of war from his youth. And David 
 said unto Saul, Thy servant was keeping his father's 
 sheep; and when there came a lion, or a bear and took a 
 lamb out of the flock I went out after him, and smote him, 
 and delivered it out of his mouth; and when he arose 
 against me, I caught him by his beard, and smote him, and 
 slew him. Thy servant smote both the lion and the bear; 
 
 [29] 
 
and this Philistine shall ie as one of them, seeing he hath 
 defied the armies of the living God. Jehovah that delivered 
 me out of the paw of the lion, and out of the paw of the 
 bear, he will deliver me out of the hand of this Philistine. 
 
 4. And Saul said unto David, Go, and Jehovah shall be 
 with thee. And Saul clad David with his appjarel, and he 
 put a helmet of brass upon his head, and he clad him with 
 a coat of mail. And David girded his sword upon his ap- 
 parel, and he assayed to go; for he had not proved it. And 
 David said unto Saul, I cannot go with these; for I have 
 not proved them. And David put them off him. And he 
 took his staff in his hand, and chose him five smooth 
 stones out of the brook, and put them in the shepherd's 
 bag which he had, even in his wallet; and his sling was in 
 his hand: and he drew near to the Philistine, and the Phil- 
 istine came on and drew near unto David. 
 
 5. And when the Philistine looked about, and saw David, 
 he disdained him; for he was but a youth, and ruddy, and 
 withal of a fair contenance. And the Philistine said unto 
 David, Am I a dog, that thou comest to me with staves? 
 And the Philistine cursed David by his gods. And the 
 Philistine said to David, Come to me, and I will give thy 
 flesh unto the birds of the heavens, and to the beasts of 
 the field. Then said David to the Philistine, Thou comest 
 to me with a sword, and with a spear, and with a javelin; 
 but I come to thee in the name of Jehovah of hosts, the God 
 of the armies of Israel, whom thou has defied. This day 
 will Jehovah deliver thee into my hand; and I will smite 
 thee, and take thy head from off thee.. and I will give the 
 dead bodies of the host of the Philistines this day unto the 
 birds of the heavens, and to the wild beasts of the earth; 
 that all this assembly may know that Jehovah saveth not 
 with sword and spear: for the battle is Jehovah's and he 
 will give you into our hand. 
 
 6. And it came to pass, when the Philistine arose, and 
 came and drew nigh to meet David, that David hastened 
 and ran toward the army to meet the Philistine. And 
 David put his hand in his bag, and took thence a stone and 
 sla'ng it, and smote the Philistine in his forehead, and he 
 fell upon his face to the earth. But there was no sword 
 in the hand of David. Then David ran, and stood over the 
 Philistine, and took his sword and drew it out of the 
 sheath thereof, and slew him, and cut off his head there- 
 with. And when the Philistines saw that their champion 
 was dead, they fled. And the men of Israel and of Judah 
 arose, and shouted and pursued the Philistines, until thou 
 comest to Gath. 
 
 EXERCISES 
 
 Many people, as soon as they stand up to speak, feel 
 embarrassed, therefore their muscles are constrained and 
 
 [30] 
 
their movements are awkward. It is desirable to keep all 
 muscles relaxed except those necessarily in use. To give 
 freedom to the muscles and incidentally to the mind, prac- 
 tice faithfully exercises 21-30. 
 
 21. a. Stand erect, heels together, weight on both feet. 
 
 (Viewed from the side, a straight line should 
 pass through the ear, shoulder, hip, knee 
 and instep.) 
 
 b. Shift weight to right foot and relax left foot. 
 
 c. Lift left foot (still relaxed), and shake it as if it 
 
 were tied to the ankle. 
 
 d. Weight on left foot and shake right. 
 
 22. a. Relax hands and wrists and shake. 
 
 b. Place left palm between thumb and fingers of right 
 
 hand and shake left hand till it becomes jelly-like. 
 
 c. Shake right hand in same way. 
 
 23. a. Stand with one foot on brick or block. 
 
 b. Relax knee and ankle muscles of other leg. 
 
 c. Raise knee and drop, still relaxed. 
 
 24. a. Place fingers on shoulders. 
 
 b. Stretch whole body upward. 
 
 c. Let arms go. 
 
 [31] 
 
LESSON IX 
 
 1. Write out a condensative paraphrase (50-75 words) of 
 
 Lincoln's speech. 
 
 2. Expansive paraphrase. Expand (to 200-250 words) 
 
 iirst two sentences of the speech. Make it such as 
 Lincoln might have spoken at that time. 
 
 SPEECH AT THE DEDICATION OF THE NATIONAL 
 CEMETERY AT GETTYSBURG 
 November 15, 1863. 
 
 Fourscore and seven years ago our fathers brought 
 forth upon this continent a new nation, conceived in lib- 
 erty, 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 por- 
 tion of that field as a final resting place for those who here 
 gave their lives that that nation might live. It is alto- 
 gether fitting and proper that we should do this. But in 
 a larger sense we ca-nnot 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, nor 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 re- 
 maining 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 neople, by the people, and for the 
 people, shall not perish from the earth. Abraham Lincoln. 
 
 EXERCISES 
 
 25. a. Stand, one foot on block, relax free leg. 
 
 b. Rise on tip-toe, without contracting any muscles in 
 free leg. 
 
 c. Repeat four times. 
 
 26. a. Relax arms wholly. 
 
 [32] 
 
b. With a springy motion on toes, twist body so as 
 
 to swing arms from shoulders, still relaxed. 
 27. a. Stand, feet apart, with weight on right foot, left 
 leg relaxed. 
 
 b. Gradually change weight without moving feet. 
 
 c. Repeat this change of poise from left to right and 
 return. 
 
 Caution: In this change of poise, the hips and not the 
 shoulders, should lead. The shoulders should remain 
 level. 
 
 [33] 
 
LESSON X 
 
 Speech may be viewed in two aspects its subject and 
 its object what you say, and why you say it. In studying 
 a passage it is not enough to know the Author's subject 
 what he is talking about, wo must also know his object 
 \\liy he is saying this, what he is driving at. What 
 makes him say just this? What does he expect to ac- 
 complish by it? Why does he say this particular thing 
 'instead of something else? In the selection on page 15, 
 what is Ruskin's subject; that is, what is Ruskin talking 
 about? Now what is his object, why does Ruskin tell us 
 or the old Scythian custom? Is it his purpose merely to 
 give us information about I he habits of those people, or 
 has he a purpose that is at first concealed? Why does he 
 not tell us at the beginning that this is a parable, a figure 
 of speech, to impress upon us a less tangible truth? The 
 immediate purpose of the parable is to catch our attention 
 and hold our minds alert for what is to follow. We shall 
 frequently find that the immediate purpose of an Author is 
 different from his main purpose. The immediate purpose is 
 what the Author is trying to accomplish at that particular 
 moment. The immediate purpose may change at every 
 step, as a man going up a steep mountain, turns this 
 way and that way, but while he seems to be going in a 
 rJiflVront direction, he is still working towards the top. 
 So the immediate purpose may seem, on a hasty reading, to 
 be contradictory to the main purpose. But it must al- 
 ways contribute to the main purpose by preparing the 
 mind in some w r ay for it. 
 
 Study Patrick Henry's speech on page 18, and write out 
 your answers to these questions: 
 
 1. What is the general situation of affairs? 
 
 2. What is his subject, what is he talking about? 
 
 3. What is his object? What is his main purpose? State 
 
 in 25-50 words what he* wanted to accomplish by this 
 speech. 
 
 [34] 
 
4. Is this main purpose noticeable in the first paragraph? 
 
 5. Gould he accomplish this purpose if he left out the first 
 
 paragraph? 
 
 6. What is his immediate purpose in the first paragraph? 
 
 7. Is there any connection between this immediate pur- 
 
 pose and his main purpose? 
 
 8. Could he leave out paragraph three? 
 
 9. Why did he not end his speech with the fifth para- 
 
 graph? 
 
 10. What is the purpose of paragraph six? Of paragraph 
 seven? 
 
 Since we cannot fully grasp the Author's meaning until 
 we know his object and aim we must make purpose the 
 basis of our study. Now, how shall we ascertain the 
 Author's purpose? It will help us to get his meaning if 
 we know something of the Author, what sort of man he 
 was, the circumstances in which he spoke, and the kind 
 of people he was addressing. But the one thing we must 
 find out is his purpose; what is his object in this speech? 
 what impression does he want to make on the hearers? 
 What result does he want to produce in their minds? 
 Does he want to give them information? Or does he want 
 to make them think? Or does he want them to feel as he 
 does about this matter? Or does he want them to decide, 
 and do something? 
 
 EXERCISES 
 
 To test poise when standing erect with weight on one 
 foot and the other relaxed: 
 
 28. a. Lift free foot and touch toe to ground in front, 
 
 then behind without moving or stiffening the 
 body. 
 
 b. Cross free foot in front of other, touch toe to 
 ground and return without moving or stiffening 
 the body. 
 
 c. Change weight to other foot and do the same. 
 
 29. a. Sit on stool (or low-backed chair), lean forward 
 
 with elbows across knees, 
 b. Relax neck muscles and drop head. 
 [35] 
 
c. With muscles still relaxed let body swing in a 
 
 circle, the shoulders dragging head around. 
 30. a. Sit on stool, lean forward, elbows across knees. 
 
 b. Relax neck and drop head. 
 
 c. Raise head leaving jaw still relaxed. 
 
 d. Shake head from side to side, letting teeth rattle. 
 
 e. Shake head up and down, letting teeth rattle. 
 
 Note: If the jaw is not free enough to rattle the teeth, 
 proceed through a, b, c, above, then take No. 22b. This 
 often proves the first step in relaxing the muscles of the 
 jaw. 
 
 [36] 
 
LESSON XI 
 
 Psychologists in studying the mind, notice three aspects 
 Intellect, Feeling, and Will. The mind is not divided, 
 these are not three separate parts. The whole mind thinks, 
 the whole mind feels, the whole mind acts. But the pro- 
 cesses are different in each case. Indeed, there are four 
 processes (1 and 2 belong to the Intellect). 
 
 1. Perception of facts, noting what one sees. 
 
 2. Conception, Reasoning, or the forming of a Judg- 
 
 ment. While the perceptive faculty merely gets 
 a number of isolated "snap-shots," as it were, the 
 Judgment compares one with another, examines 
 their points of likeness, or of unlikeness, and sees 
 how one thing is related to another. 
 
 3. Emotion, or Feeling, such as sternness, pleasure, fear, 
 
 joy, hate, admiration, dignity, etc. 
 
 4. Volition, Determination, or Will, the making of de- 
 
 cisions. 
 
 1. If your purpose is -simply to give your hearer some 
 facts, if you want him merely to perceive them, to take 
 them in, to record them on the retina of his mind, like 
 snapshots on camera plates, then your purpose might 
 be called Presentation. You present certain facts before 
 his mind, you unfold your thoughts clearly and quietly. 
 Any passage in which this is the main purpose of the 
 Author we may classify as Presentation. 
 
 The bride kissed the goblet; the knight took it up; 
 He quaffed off the wine, and he threw down the cup. 
 She looked down to blush, and she looked up to sigh. 
 With a smile on her lip, and a tear in her eye. 
 He took her soft hand, ere her mother could bar, 
 "Now tread we a measure!" said young Lochinvar. 
 
 How many snapshots are there in these six lines? 
 
 How many facts do the following lines present? 
 My name is Norval; on the Grampian hills 
 My father feeds his flocks; a frugal swain, 
 Whose constant cares were to increase his store, 
 And keep his only son, myself, at home. 
 [37] 
 
Nobody under the table, nobody under the sofa; a small 
 fire in the grate; spoon and basin ready; and the little 
 sauce-pan of gruel (Scrooge had a cold in his head) upon 
 the hob. Nobody under the bed; nobody in the closet, 
 nobody in his dressing-gown, which was hanging up in a 
 suspicious attitude against the wall. Quite satisfied, he 
 closed the door and locked himself in. 
 
 Is there any connected line of thought in this, or is it 
 merely presentation of facts? 
 
 This type, Presentation is of course often tinged with 
 other types, but you need have no difficulty in classify- 
 ing examples correctly. It asserts instead of arguing; it 
 explains instead of comparing; it presents propositions, 
 but does not discuss them. 
 
 2. If, however, your purpose is not only to make your 
 hearer take in certain facts, but also to make him reason 
 about them; if you want him to compare these facts, to 
 contrast them, to detect differences, if you want to ap- 
 peal to his reasoning faculty, his judgment, then you 
 must show the difference between facts, you must discrim- 
 inate, you must compare. Any passagt in which this is 
 the Author's purpose may be classed as Discrimination. 
 
 After the close of the Revolutionary war, the king of 
 Great Britain ordered a thanksgiving to be kept through- 
 out the kingdom. A minister of the ..gospel inquired of 
 him, "For what are we to give thanks? that your majesty 
 has lost thirteen of your best provinces?" The king an- 
 swered, "No." Is it then, that your majesty has lost one 
 hundred thousand lives of your best subjects?" "No, no!" 
 said the king. "Is it then, that we have expended, and lost, 
 a hundred millions of money, and for the defeat and tar- 
 nishing of your majesty's arms?" "No such thing," said 
 the king pleasantly. "What then, is the object of the 
 thanksgiving?" "Oh, give thanks that it is no worse." 
 
 Speak the speech, I pray you, as I pronounced it to you; 
 trippingly on the tongue. But if you mouth it, as many 
 of your players do, I had as lief the town-crier spoke my 
 lines. Nor do not saw the air too much with your hand, 
 thus, but use all gently; for in the very torrent, tempest, 
 and, as I may say, the whirlwind of passion, you must 
 acquire arid beget a temperance that may give it smooth- 
 ness. 
 
 [38] 
 
Thinking leads man to knowledge. He may see and 
 hear, and read and learn whatever he pleases, and as 
 much as lie pleases; he will never know anything of it, 
 except that which he has thought over; that which, by 
 thinking, he has made the property of his mind. Is it 
 then saying too much, that man, only by thinking, becomes 
 truly man? Take a\vay thought from man's life, and what 
 remains?" 
 
 There are two kinds of poverty. One consists in not 
 having things; the other in not being able to use them. If 
 a man has millions and gets nothing out of it, he is as 
 poor as if he had nothing. No man is rich who gets nothing 
 from his wealth but board and clothes. Would it enrich a 
 tribe of Hottentots to send thorn a library, or a piano, or a 
 printing-press? Not in the least, because the Hottentot is 
 dead to these things. Enlargement of life which enables 
 a man to discover new value in that which is about him is 
 the (Hie condition on which all possible good for him de- 
 pends. 
 
 "The quality of mercy is not strain'd, 
 
 It droppeth as the gentle rain from heaven 
 
 Upon the place beneath: it is twice blest; 
 
 It blesseth him that gives and him that takes; 
 
 Tis mightiest in the mightiest: it becomes 
 
 The throned monarch better than his crown; 
 
 His sceptre shows the force of temporal power, 
 
 The attrihute to awe and majesly, 
 
 Wherein doth sit the dread and fea-r of kings; 
 
 But mercy is abovo this sceptred sway; 
 
 It is enthroned iji the hr-arts of kings, 
 
 It is an attribute to God himself; 
 
 And earthly power doth then show likest God's 
 
 When mercv seasons justice. Therefore, Jew, 
 
 Though justice be thy plea, consider this: 
 
 That, in the course of justice, none of us 
 
 Should see salvation: we do pray for mercy; 
 
 And that same prayer doth teach us all to render 
 
 The deeds of mercy." 
 
 Point out any parts of these five examples that merely 
 present facts. Do you perceive that each of these pas- 
 sages, as a whole, reveals a different mood of the speaker's 
 mind from that shown in the three passages given under 
 Presentation? 
 
 3. But if presenting facts and discriminating between 
 various facts and their different qualities is not your aim; 
 if you wish to stir your hearer's feelings, to arouse him to 
 indignation or enthusiasm, to excite his pity, his laughter, 
 
 [39] 
 
or his joy, you must (generally) be stirred yourself, and 
 as your feeling shows itself the hearer will catch it also. 
 A passage that reveals some emotion of the Author and ap- 
 peals to the feelings of the hearer we may classify as 
 Emotion. 
 
 See what a grace was seated on this brow! 
 
 Bear with me; 
 
 My heart is in the coffin there with Caesar, 
 And I must pause till it come back to me. 
 
 If it will feed nothing else it will feed my revenge. 
 
 I am indeed, sir, a surgeon to old shoes. 
 When they are in great danger, I recover them. 
 
 save me Hubert, save me from these bloody men. 
 
 Do you see clearly that these examples show a different 
 mood of the speaker's mind from the passages given under 
 Discrimination? 
 
 4. There is still another purpose that a speaker may 
 have, the purpose to influence the hearer to make a de- 
 cision, to stir his will, to cause him to act. This is usually 
 accomplished by the impact of the speaker's will upon the 
 \\ill of the hearer. A passage which thus arouses the de- 
 termination of the hearer by showing the will or volition 
 of the speaker, we may classify as Volition. 
 
 He has charged me with being connected with the 
 rebels. The charge is utterly, totally, and meanly 
 false. 
 
 Were I an American, as I am an Englishman, while a 
 single foreign troop remained in my country, I 
 would never lay down my arms, Never! Never! 
 Never ! 
 
 Pilate answered, What I have written I have written. 
 
 Note: These examples of Volition are tinged with 
 Emotion. Indeed passages containing only one mood of the 
 author's mind are rare; but while traces of the other 
 moods may be present in a passage, it is not difficult 
 (after some practice) to decide which mood is dominant, 
 which purpose rules. 
 
 [40] 
 
LESSON XII 
 
 Study the selection David and Goliath, page 29. 
 
 In Paragraph 1 is the Author's purpose to give facts or to 
 convince. 
 
 In Paragraph 2 is his purpose to present facts or to com- 
 pare facts, or to express some emotion? 
 
 Does any speech of David show feeling? If so, what 
 feeling? 
 
 Does any speech of Saul show feeling? If so, what feel- 
 ing? 
 
 Does any speech of Goliath show feeling? If so, what 
 feeling? 
 
 In Saul's first speech (In Paragraph 3) is there more of in- 
 formation, reasoning, or feeling? 
 
 In David's reply is there more of information, reasoning, 
 feeling, or 'determination? 
 
 Select two sentences that may be classed as Presentation. 
 
 Select two sentences that may be classed as Discrimin- 
 ation. 
 
 Select two sentences that may be classed as Emotion. 
 
 Select two sentences that may be classed as Volition. 
 
 Paraphrase each of these eight sentences in such a way as 
 to show unmistakably that they do belong to the class 
 in which you have put them. 
 
 Study again Patrick Henry's speech on page 18. 
 
 What Emotions, or feelings, does the speaker show? 
 
 Does he manifest any Volition? 
 
 Does he show any Discrimination? 
 
 Ls there any Presentation of facts? 
 
 Mark all of these with pencil in the margin, and thus be 
 ready to answer without delay. 
 
 EXERCISE3 
 
 Go through all the exercises, doing each once without 
 the repetitions indicated. 
 
 [41] 
 
REVIEW QUESTIONS 
 
 1. Make a list of the facts given in the first Paragraph 
 
 of "Goliath" page 29. 
 
 2. Is any Paragraph in "Goliath" made up entirely of 
 
 one type, or mood? 
 
 3. Which of the four moods is most common in this 
 
 selection? 
 
 4. Which of the four moods is most common in ordi- 
 
 nary conversation? 
 
 [42] 
 
LESSON XIII 
 
 Study the address of Spartacus until you understand 
 it thoroughly, and write out answers to the questions that 
 follow. 
 
 SPARTACUS TO THE GLADIATORS AT CAPUA 
 
 1. It had been a day of triumph in Capua. Lentulus, 
 returning with victorious eagles, had amused the populace 
 with the sports of the amphitheatre to an extent hitherto 
 unknown even in that luxurious city. The shouts of rev- 
 elry had died away; the roar of the lion had ceased; the 
 last loiterer had retired from the banquet, and the lights 
 in the palace of the victor were extinguished. The moon, 
 piercing the tissue of fleecy clouds, silvered the dew- 
 drops on the corselet of the Roman sentinel, and tipped 
 the dark waters of the Vulturnus with a wavy, tremulous 
 light. No sound was heard, save the last sob of some re- 
 tiring wave, telling its story to the smooth pebbles of the 
 beach; and then all was still as the breast when the spirit 
 has departed. In the deep recesses of the amphitheatre a 
 band of gladiators were assembled, their muscles still 
 knotted with the agony of conflict, the foam upon their 
 lips, the scowl of battle yet lingering on their brows, when 
 Spartacus, starting forth from amid the throng, thus ad- 
 dressed them: 
 
 2. Ye call me chief; and ye do well to call him chief 
 who, for twelve long years, has met upon the arena every 
 shape of man or beast the broad empire of Rome could 
 furnish, and who never yet lowered his arm. If there be 
 one among you who can say that ever, in public fight or 
 private brawl, my actions did belie my tongrue, let him 
 stand forth and say it. If there be three in all your com- 
 pany da-re face me on the bloody sands, let them come on. 
 And yet I was not always thus, a hired butcher, a savage 
 chipf of still more savage men. 
 
 3. Mv ancestors came from old Sparta,' and settled 
 amone: the vine-clad rocks and citron-groves of Syrasella. 
 My early life ran ouiet as the brooks by which T sported; 
 and when at noon I gathered tbe sheep beneath the shade, 
 and played upon the shepherd's flute, there was a friend, the 
 son of a n^ierhbor, to join me in the nastime. We led our 
 flocks to the same pasture, and partook together of our 
 rustic mea-1. One evening 1 , after the sheep were folded, and 
 we were all seated beneath the myrtle which sba-ded our 
 cottaere, my grandsire, an old man. was telling of Marathon 
 and Leuctra, and how, in ancient times, a little band of 
 
 [43] 
 
Spartans, in a defile of the mountains, had withstood a 
 whole army. I did not then know what war was; but my 
 cheeks burned, I knew not why, and I clasped the knees 
 of that venerable man, until my mother, parting the hair 
 from off my forehead, kissed my throbbing temples and 
 bade me go to rest, and think no more of those old tales and 
 savage wars. That very night the Romans landed on our 
 coast. I saw the breast that had nourished me trampled 
 by the hoof of the war-horse, the bleeding body of my. 
 father flung amidst the blazing rafters of our dwelling! 
 
 4. Today I killed a man in tha arena, and when I broke 
 his helmet-clasps, behold! he was my friend. He knew 
 me, smiled faintly, gasped, and died; 1 the same sweet 
 smile upon his lips that I had marked, when, in adven- 
 turous boyhood, we scaled the lofty cliff to pluck the first 
 ripe grapes, and bear them home in childish triumph. I 
 told the praetor that the dead man had been my friend, 
 generous and brave, and I begged that I might bear away 
 the body, to burn it on a funeral pile, and mourn over its 
 ashes. Ay, upon my knees, amid the dust and blood of the 
 arena, I begged that poor boon, while all the assembled 
 maids and matrons, and the holy virgins they call Vestals, 
 and the rabble, shouted in derision, deeming it rare sport, 
 forsooth, to see Rome's fiercest gladiator turn pale and 
 tremble at sight of that piece of bleeding clay. And the 
 praetor drew back, as I were pollution, and sternly said, 
 "Let the carrion rot; there are no noble men but Romans." 
 
 5. And so, fellow-gladiators, must you, and so must I, 
 die like dogs. Rome, Rome, thou 'hast been a tender 
 nurse to me. Ay, thou hast given to that poor, gentle, 
 timid shepherd lad, who never knew a harsher tone than 
 a flute-note, muscles of iron and a heart of flint; taught 
 him to drive the sword through plaited mail and links 
 of rugged brass, and warm it in the marrow of his foe; 
 to gaze into the glaring eyeballs of the fierce Numidian 
 lion, even as a boy upon a laughing girl. And he shall pay 
 thee back, until the yellow Tiber is red as frothing wine, 
 and in its deepest ooze thy life-blood lies curdled. 
 
 6. Ye stand here now like giants, as ye are. The 
 strength of brass is in your toughened sinews; but tomor- 
 row some 4 Roman Adonis, breathing: sweet perfume from 
 his curly 'locFs, shall with his lily fingers pat your 
 red braw'n, a-nd bet his sesterces upon yowr blood. Hark! 
 hear ye von lion roaring in his den? 'Tis three days since 
 he tasted flesh, but tomorrow he shall break his fast upon 
 yours, and a dainty meal for him ye will be! If ye are 
 beasts, then stand here like fat oxen, waiting for the 
 butcher's knife! Tf ye are men, follow me! Strike down 
 yon guard, erain the mountain masses, and there do bloody 
 work, as did your sires at Old Thermopylae. Is Spa-rta 
 dead? Is the old Grecian spirit frozen in your veins, that 
 
 [44] 
 
you do crouch and cower like a belabored hound beneath 
 his master's lash? comrades, warriors, Thracians, if 
 we must fight, let us fight for ourselves! If we must slaugh- 
 ter, let us slaughter our oppressors! If we must die, let it be 
 under the clear sky, by the bright waters, in noble, hon- 
 orable battle! Elijah Kellogg. 
 
 To whom is he speaking? 
 
 What was their condition? 
 
 Why does he speak? 
 
 What is his main purpose that is, what does he ex- 
 pect to accomplish by this speech? 
 
 Does Section 2 help towards this main purpose? 
 
 In what way does it help towards it that is, what is 
 the immediate purpose of Section 2? 
 
 What is the immediate purpose of Section 3? 
 
 How does Section 4 contribute towards his object? 
 
 What is the immediate purpose of Section 6 and how 
 does that help on his main purpose? 
 
 What parts of this selection are mainly Presentation? 
 (Mark P in margin.) 
 
 What parts are mainly Emotion? (Mark E in margin.) 
 
 What parts are mainly comparison of facts, discussion, 
 reasoning, Discrimination? (Mark D in margin.) 
 
 What parts are mainly determination, the exercise of 
 will, Volition? (Mark V in margin.) 
 
 EXERCISES 
 
 1. Practice on the exercises in which you are not pro- 
 ficient. 
 
 [45] 
 
LESSON XIV 
 
 1. Oh, young Lochinvar is come out of the West! 
 Through all the wide border his steed was the best; 
 And save his good broadsword he weapon had none; 
 He rode all unarmed and he rode all alone. 
 
 So faithful in love, and so dauntless in war, 
 There never was knight like the young Lochinvar. 
 
 2. He staid not for brake, and he stopped not for stone, 
 
 He swam the JEsk river where ford there was none; 
 But ere he alighted at Netherby gate, 
 The bride had consented, the gallant came late; 
 For a laggard in love, and a dastard in war, 
 Was to wed the fair Ellen of brave Lochinvar. 
 
 3. So boldly he entered the Netherbv Hall, 
 
 Among bridesmen, and kinsmen, and brothers and all. 
 Then spoke the bride's father, his hand on his 
 
 sword, 
 
 For the poor craven bridegroom said never a word, 
 "Oh, come ye in peace here, or come ye in war, 
 Or to dance at our bridal, young Lord Lochinvar?" 
 
 4. "I long wooed your daughter; my suit you denied: 
 
 Love swells like the Solway, but ebbs like its tide; 
 And now I am come, with this lost love of mine 
 To lead but one measure, drink one cup of wine. 
 There be maidens in Scotland, more lovely bv far, 
 That would gladly be bride to the young Lochinvar/' 
 
 5. The bride kissed the goblet, the knight took it up; 
 
 He quaffed off the wine, and he threw down the cup: 
 She looked down to blush, and she looked up to sigh, 
 Wi_th a smile on her lip, and a tear in her eye; 
 He took her soft hand ere, her mother could bar; 
 "Now tread we a measure!" said young Lochinvar. 
 
 6. So stately his form and so lovely her face, 
 
 That never a hall such a galliard did grace; 
 
 While her mother did fret, and her father did fume. 
 
 And the bridegroom stood dangling his bonnet and 
 plume. 
 
 And the bridesmaidens whispered, "Twere better, 
 by far,' 
 
 To have matched our fair cousin with young Loch- 
 invar." 
 
 [46] 
 
7. One touch to her hand, and one word in her ear, 
 
 When they reached the hall-door, and the charger 
 
 stood near; 
 
 So light to the croupe the fair lady he swung, 
 So light to the saddle hefore her he sprung: 
 "She is won! we are gone! over hank, bush, and 
 
 scaur; 
 They'll have fleet steeds that follow," quoth young 
 
 Lochinvar. 
 
 8. There was mounting 'mong Graemes of the Netherby 
 
 clan: 
 Forsters, Fenwicks, and Musgraves, they rode and 
 
 they ran; 
 
 There was racing and chasing on Cannobie Lee, 
 But the lost bride of Netherby ne'er did they see. 
 So daring in love, and so dauntless in war,' 
 Have ye e'er heard of gallant like young Lochinvar? 
 
 1. Study this poem and tell the story briefly and with 
 
 spirit. 
 
 2. Shut your eyes and imagine the whole episode until 
 
 you can see every detail of it vividly. 
 
 3. Write a paraphrase of stanza 3 so as to make the 
 
 facts clear and vivid. State exactly what happened. 
 
 4. Paraphrase the same stanza so as to sho\v the feeling 
 
 in it. 
 
 5. Paraphrase stanza 7 so as to emphasize the Dis- 
 
 crimination so as to make us understand exactly 
 what each person did, and why. For the sake of 
 vividness always keep your paraphrase in direct 
 discourse. Read your paraphrase aloud and then 
 read aloud the stanza paraphrased. Notice that 
 your reading is improved after making the clear 
 paraphrase. This is because the paraphrase is 
 your interpretation of the meaning. 
 
 6. Select from the poem three passages that discrim- 
 
 inate by showing contrasts. 
 
 7. Select three passages that discriminate as to time, 
 
 in which the attention is called to what came first 
 or what came after. 
 
 8. Select some passage that discriminates as to place; 
 
 that points out the position of persons or objects. 
 
 [47] 
 
Note: In stanza 6 the attention is not called to the time, 
 though a time-word ("while") is used. The point is 
 not the time of his dancing but the beauty of it. In 
 stanza 4 the word "now" does call attention to the time. 
 Before this he had come as a lover, but now he says he 
 comes as a mere acquaintance. 
 
 EXERCISES 
 
 Take exercises 1-4, describe them rapdily and vividly; 
 and then give them before the class, as you would 
 to a class of your own that you were teaching. 
 Lead the class in these exercises, and see that each 
 member performs correctly. 
 
LESSON XV 
 
 Study this selection from Shakespeare's Julius Caesar 
 until you can see the whole scene just as if you wore 
 there when it occurred. 
 
 Brutus. Good countrymen, let me depart alone, 
 And, for my sake, stay here with Antony: 
 Do grace to Caesar's corpse, and grace his speech, 
 Tending to Caesar's glories; which Antony, 
 By our permission, is allow'd to make. 5 
 
 I do entreat you, not a man depart, 
 Save I alone, till Antony have spoke. 
 
 First Citizen. Stay, ho! and let us hear Mark Antony. 
 
 Third Citizen. Let him go up into the public chair; 
 We'll hear him. Noble Antony, go up. 10 
 
 Antony. For Brutus' sake, I am beholding to you. 
 
 Fourth Git. What does he say of Brutus? 
 
 Third Git. He says, for Brutus' sake, 
 
 He finds himself beholding to us all. 
 
 Fourth Git. 'Twere best he speak no harm of Brutus 
 here. 15 
 
 First Git. This Caesar was a tyrant. 
 
 Third Git. Nay, that's certain: 
 
 We are blest that Rome is rid of him. 
 
 Sec. Git. Peace! let us hear what Antony can say. 
 
 Ant. You gentle Romans, 20 
 
 Citizens. Peace, ho! let us hear him. 
 
 Ant. Friends, Romans, countrymen, lefnd mp your 
 
 ears; 
 
 I come to bury Caesar, not to praise him. 
 The evil that men do lives after them; 
 The good is oft interred with their bones; 25 
 
 So let it be with Caesar. The noble Brutus 
 Hath told you Caesar was ambitious: 
 If it were so, it was a grievous fault, 
 And grievously hath Caesar answer'd it. 
 Here, under leave of Brutus and the rest' 30 
 
 For Brutus is an honorable man; 
 So are they all, all honorable men 
 Come I to speak in Caesar's funeral. 
 He was my friend, faithful and just to me: 
 But Brutus says he was ambitious 35 
 
 And Brutus is an honorable man. 
 He hath brought many captives home to Rome, 
 Whose ransoms did the general coffers fill: 
 Did this in Caesar seem ambitious? 
 
 [49] 
 
When that the poor have cried, Caesar hath wept: 40 
 
 Ambition should be made of sterner stuff: 
 
 Yet Brutus says he was ambitious; 
 
 And Brutus is an honorable man. 
 
 You all did see that on the Lupercal 
 
 I thrice presented him a kingly crown, 45 
 
 Which he did thrice refuse: \yas this ambition? 
 
 Yet Brutus says he was ambitious; 
 
 And, sure, he is an honorable man. 
 
 I speak not to disprove What Brutus spoke, 
 
 But here I am to speak what I do know. 50 
 
 You all did love him once, not without cause: 
 
 What cause withholds you then, to mourn for him? 
 
 judgment! thou art fled to brutish beasts, 
 
 And men have lost their reason. Bear with me; 
 
 My heart is in the coffin there with Caesar, 55 
 
 And I must pause till it come back to me. 
 
 First Git. Methinks there is much reason in his say- 
 ings. 
 
 Sec. Cit. If thou consider rightly of the matter, 
 Caesar has had great wrong. 
 
 Third Cit. Has he not masters? 
 
 1 fear there will a worse come in his place. 61 
 
 Fourth Cit. Mark'd ye his words? He would not 
 
 take the crown; 
 Therefore 't is certain he was not ambitious. 
 
 First Cit. If it be found so, some will dear abide it. 
 Sec. Cit. Poor soul! his eyes are red as fire with 
 weeping. 65 
 
 Third Cit. There's not a nobler man in Rome than 
 
 Antony. 
 
 Fourth Cit. Now mark him, he begins again to speak. 
 Ant. But yesterday the word of Caesar might 
 Have stood against the world; now lies he there, 
 And none so poor to dp him reverence. 70 
 
 masters, if I were dispos'd to stir 
 
 Your hearts and minds to mutiny and rage, 
 
 1 should do Brutus wrong, and Cassius wrong, 
 Who, you all know, are honorable men: 
 
 I will not do them wrong; I rather choose 75 
 
 To wrong the dead, to wrong myself and you, 
 
 Than I will wrong such honorable men. 
 
 But here's a parchment with the seal of Caesar; 
 
 I found it in his closet, 't is his will: 
 
 Let but the commons hear this testament 80 
 
 Which, pardon me, I do not mean to read 
 
 And they would go and kiss dead Caesar's wounds 
 
 And dip their napkins in his sacred blood, 
 
 Yea, beg a hair of him for memory, 
 
 [50] 
 
And, dying, mention it within their wills, 85 
 
 Bequeathing it as a rich legacy 
 Unto their issue. 
 
 Fourth Git. We'll hear the will: read it, Mark Antony. 
 
 All. The will, the will! we will hear Caesar's will. 
 
 Ant. Have patience,, gentle friends, I must not read it; 
 It is not meet you know how Caesar lov'd you. 91 
 
 You are not wood, you are not stones, but men; 
 And, being men, hearing the will of Caesar, 
 It will inflame you, it will make you mad: 
 T is good you know not that you are his heirs: 95 
 
 For, if you should, 0, what would come of it! 
 
 Fourth Git, Read the will; we'll hear it, Antony; 
 You shall read us the will, Caesar's will. 
 
 Ant. Will you be patient? will you stay awile? 
 I have o'ershot myself to tell you of it: 100 
 
 I fear I wrong the honorable men 
 Whose daggers have stabb'd Caesar; I do fear it. 
 
 Fourth Git. They were traitors: Honorable men! 
 
 All. The will! the testament! 
 
 Sec. Git. They were villains, murderers: the will! 
 read the will. 106 
 
 Ant. You will compel me, then, to read the will? 
 Then make a ring about the corpse of Caesar, 
 And let me show you him that made the will. 
 Shall I descend? and will you give me leave? 
 
 Several Git. Come down. 110 
 
 Sec. Git. Descend. 
 
 Third Git. You shall have leave. 
 
 Fourth Git. A ring; stand round. 
 
 First Git. Stand from the hearse, stand from the 
 body. 
 
 Sec Git. Room for Antony, most noble Antony. 115 
 
 Ant. Nay, press not so upon me; stand far off. 
 
 Several Git. Stand back; room; bear- back. 
 
 Ant. If you have tears, prepare to shed them now. 
 You all do 'know this mantle: I remember 
 The first time ever Caesar put it on; 120 
 
 'T was on a summer's evening, in his tent, 
 That day he overcame the Nervii: 
 Look, in that place ran Cassius' dagger through: 
 See what a rent the envious Casca made: 
 Through this the well-beloved Brutus stabb'd; 125 
 
 And as he pluck' d his cursed steel away, 
 Mark how the blood of Caesar follow'd it, 
 As rushing out of doors, to be resolv'd 
 If Brutus so unkindly knock'd, or no; 
 
 For Brutus, as you know, was Caesar's angel: 130 
 
 Judge, you gods, how dearly Caesar lov'd him: 
 This was the most unkindest cut of all; 
 For when the noble Caesar saw him stab, 
 
 [51] 
 
Ingratitude, more strong than traitor's arms, 
 
 Quite vanquish'd him: then burst his mighty heart; 135 
 
 And, in his mantle muffling up his face, 
 
 PJven at the base of Pompey's statua, 
 
 Which all the while ran blood, great Caesar fell. 
 
 0, what a fall was there, my countrymen! 
 
 Then I, and you, and all of us fell down, 140 
 
 Whilst bloody treason flourish'd over us. 
 
 0, now you weep, and, I perceive, you feel 
 
 The dint of pity; these are gracious drops. 
 
 Kind souls, what, weep you when you but behold 
 
 Our Caesar's vesture wounded? Look you here, 145 
 
 Here is himself, marr'd, as you see, with traitors. 
 
 First Git. piteous spectacle! 
 
 Sec. Git. noble Caesar! 
 
 Third Git. woful day! 
 
 Fourth Git. traitors, villains! 150 
 
 First Git. most bloody sight! 
 
 Sec. Git. We will be reveng'd. 
 
 All. Revenge! About! Seek! Bufn! Fire! Kill! 
 Slay! Let not a traitor live! 
 
 Ant. Stay countrymen. 155 
 
 First Git. Peace there! hear the noble Antony. 
 
 Sec. Git. We'll hear him, we'll follow him, we'll die 
 with him. 
 
 Ant. Good friends, sweet friends, let me not stir you 
 
 up 
 
 To such a sudden flood of mutiny. 
 
 They that have done this deed are honorable: 160 
 
 What private griefs they have, alas, I know not, 
 That made them do it: they are wise and honorable, 
 And will, no doubt, with reasdns answer you. 
 I come not, friends, to steal away your hearts: 
 I am no orator, as Brutus is; 165 
 
 But, as you know me all, a plain blunt man, 
 That love my friend; and that they know full well 
 That gave me public leave to speak of him: 
 For I have neither wit, nor words, nor worth, 
 Action, nor utterance, nor the power of speech, 170 
 
 To stir men's blood: I only speak right on; 
 I tell you that which you yourselves do know; 
 Show you sweet Caesar's wounds, poor poor dumb 
 
 mouths, 
 
 And bid them speak for me: but were I Brutus, 
 And Brutus Antony, there were an Antony 175 
 
 Would ruffle up your spirits and put a tongue 
 In every wound of Caesar that shouM move 
 The stones of Rome to rise and mutiny. 
 
 All. We'll mutiny. 
 
 First Git. We'll burn the house of Brutus. 180 
 
 Third Git. Away, then! come, seek the conspirators. 
 
 Ant Yet hear me, countrymen; yet hear me speak. 
 [52] 
 
All. Peace, ho! Hear Antony. Most noble Antony! 
 
 Ant. Why, friends, you go to do you know not what: 
 Wherein hath Caesar thus deserv'd your loves? 185 
 
 Alas, you know not: I must tell you, then: 
 You have forgot the will I told you of. 
 
 All. Most true. The will! Let's stay and hear the 
 will. 
 
 Ant. Here is the will, and under Caesar's seal. 
 To every Roman citizen he gives, 190 
 
 To every several man, seventy-five drachmas. 
 
 Sec. Git. Most noble Caesar! We'll revenge his death. 
 
 Third Git. royal Caesar! 
 
 Ant. Hear me with patience. 
 
 All. Peace, ho! 195 
 
 Ant. Moreover, he hath left you all his walks, 
 His private arbours and new-planted orchards, 
 On this side Tiber; he hath left them you, 
 And to your heirs forever, common pleasures, 
 To walk abroad, and recreate yourselves. 200 
 
 Here was a Caesar! when comes such another? 
 
 First Git. Never, never. Come, away, away! 
 We'll burn his body in the holy place, 
 And with the brands fire the traitors' houses. 
 Take up the body. 205 
 
 Sec. Git. Go fetch fire. 
 
 Third Git. Pluck down benches. 
 
 Fourth Git. Pluck down forms, windows, any thing. 
 
 Ant. Now let it work. Mischief, thou art afoot, 
 Take thou what course thou wilt! 
 
 Write out brief answers to these questions? 
 
 1. Whose funeral was this? 
 
 2. Who had killed him? 
 
 3. Were the mob pleased or angry with Brutus? 
 
 4. Did they want to listen to Antony? 
 
 5. What would have happened if Antony had said any- 
 
 thing against Brutus? Did Antony know this? 
 
 6. What is Antony's main purpose in his speech? 
 
 7. Does he tell them that at the beginning? 
 
 8. What then is his immediate purpose? 
 
 9. Antony first presents certain facts to them; Caesar 
 
 was his friend, and according to custom he is 
 going to say some loving things at the funeral. He 
 is not going to blame Brutus, of course not; but 
 he does not want to bury his friend without a 
 word of respect and appreciation. Mark with "P" 
 in the margin that part of his speech that you 
 think is mostly presentation. 
 [53] 
 
10. Soon Antony begins to reason about the facts he has 
 
 given. Very shrewdly he starts questions in their 
 minds about Caesar's "ambition;" compares the 
 greatness of the penalty with his wrongdoing; 
 discusses, at first very cautiously, the "honorable- 
 ness" of murder. He introduces and suggests these 
 ideas so skillfully that you will perhaps not notice 
 at once that this is Discrimination. Mark with "D" 
 in the margin the section of his speech that be- 
 longs to this type of thought. 
 
 11. After he sees that the crowd are comparing, weigh- 
 
 ing and balancing the matter, he wants to get 
 their feeling on Caesar's side, so he mentions 
 things that will appeal to their admiration and 
 love of Caesar, he stirs their patriotic pride in 
 Caesar's victories, and arouses their personal grat- 
 itude by reading Caesar's generous gifts to them 
 in his will. Mark with U E" in the margin that 
 part of the speech that expresses emotion. 
 
 12. But facts, arguments, even strong feeling is not 
 
 enough; something must be done. He wants to 
 stir the mob to act, so he suggests what he wants 
 them to do (by telling them not to do that) and 
 arouses their determination to do it. Mark with 
 "V" in the margin the part of the speech that 
 most expresses volition. 
 
 13. Are Antony's different moods of utterance distinct or 
 
 do they overlap? 
 
 EXERCISES 
 
 Describe exercises 5-8 as carefully and vividly as if 
 teaching a class of your own, and then lead the 
 class in practicing them correctly. 
 
 [54] 
 
LESSON XVI 
 
 Write briefly in order, the different facts that are 
 presented to the mob in lines 1-36. Some of these 
 facts that Antony would have thought it neces- 
 sary to mention, Brutus has just stated, so An- 
 tony did not need to repeat them. 
 
 2. What distinctions or comparisons, or contrasts, or 
 
 inferences are made in lines 26-63 ^ 
 
 3. Where does Antony show emotion, and what emo- 
 
 tions? 
 Make a list of the things he says to stir the feelings 
 
 of the mob in favor of Caesar. 
 Make a list of the things he says to stir them against 
 
 the conspirators. 
 
 4. What statements does Antony make to awake the 
 
 will, the determination of the mob? 
 
 5. Is it natural to have some feeling mixed with Dis- 
 
 crimination, and with Volition? 
 
 Is there any Presentation in that part of the speech 
 you have marked Emotion? 
 
 Note: It is convenient to mark the dominant mood of 
 a passage with a large letter in the margin and the sen- 
 tences in it that show some other mood with a smaller 
 letter. 
 
 Make a tabular chart, as indicated on the following 
 page. For the present, fill in the second and the last col- 
 umn from your own observation of how folk do naturally 
 express the different moods of utterance. Your results 
 can be corrected from later lessons. The other columns 
 can be filled from information already given. 
 
 [55] 
 
1 
 
 2 
 
 Purpose of 
 Speaker or 
 Mood of 
 Utterance 
 
 How 
 Expressed 
 by the 
 Voice 
 
 Addresses 
 What Faculty 
 of Hearer's 
 Mind 
 
 What His 
 Mind Does In 
 Response 
 
 What Sort and 
 Size of Gesture 
 Used 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 EXERCISES 
 
 Describe exercises 9-12 as clearly as if you were teach- 
 ing a class of your own, and then lead the class in 
 practicing them correctly. 
 
 [56] 
 
LESSONS XVII and XVIII 
 
 1. When the Speaker is in the mood we have named 
 Presentation, he unconsciously expresses it to his hearers 
 by the time he takes in speaking; his rate of speaking be- 
 ing faster or slower according to whether the thoughts 
 presented are easy or difficult for the hearer to take in. 
 In the following passage from Rudyard Kipling, the hearer 
 needs time to construct the scene in his mind as the 
 speaker gives it to him piece by piece. Note which parts 
 take most time for you to get the picture clear in your 
 own mind as you read it from the page. 
 
 The army of the South had finally pierced the center 
 of the army of the North, and was pouring through the 
 gap hot-foot to capture a city of strategic importance. 
 Its front extended fan-wise, the sticks being represented 
 by regiments strung out along the line of route back- 
 wards to the transport columns. On its right the broken 
 left of the army of the North was flying in mass. . . . 
 Unluckily he did not observe that three miles to his right 
 flank a flying column of Northern horses had been pushed 
 around to cut across the entire rear of the Southern army, 
 to break, as it were, all the ribs of the fan where they 
 converged. 
 
 As you tell this (without the book, of course) you may 
 use the blackboard to help make it clear to the hearers. 
 Do not go too fast for them to construct the scene in their 
 own minds. Do the same with this passage from Victor 
 Hugo: 
 
 Those who wish to form a distinct idea of the battle of 
 Waterloo, need only imagine a capital A laid on the 
 ground. The left of the A is the Nivelles road, the right 
 one the Gcnappe road, while the string of the A is the 
 broken way running from Ohaine to Braine 1'Allend. The 
 top of the A is Mont St. Jean, where Wellington is; the 
 left lower point is Hougomont, where Reille is with Jerome 
 Bonaparte; the right lower point is la Belle Alliance, 
 where Napoleon is. A little below the point where the 
 string of the A meets and cuts the right leg, is La Haye 
 Sainte; and in the center of this string is the exact spot 
 where the battle was concluded. The triangle comprised 
 at the top of the "A" between the two legs and the string, 
 is the plateau of Mont St. Jean; the dispute for this 
 plateau was the whole battle. 
 
 [57] 
 
As you tell the next incident (tr.ying to make your 
 hearers see it vividly), notice which words are instinct- 
 ively said most slowly. 
 
 During the summer of 1893 occurred the great Knox fire 
 in Washington. The household goods of many of Wash- 
 ington's citizens had been stored in the Knox warehouse. 
 The fire, which began on the first floor, took everything 
 before it. It burned through floor after floor, until it 
 broke at last from the towering roof. The water which 
 the firemen poured into the flames seemed like added 
 fuel. Soon the massive walls fell with a mighty crash. 
 The fire raged fiercely for some time, and then left a 
 smoldering heap of ruins. After the danger \vas past, a 
 large staff of men began work removing the debris. Ev- 
 erything in the building seemed to be crushed. Great 
 beams had been snapped as though they wX*re mere 
 splints. Load after load of fhe debris had been hauled 
 away, when, underneath it all, protected by a beam which 
 lay aslant, was found a delicate little cut-glass vase, its 
 crystal beauty unmarred by the crash, and untarnished 
 by the smoke, as perfect as when it left the liands of the 
 skilful artist who made it. 
 
 2. When fhe speaker is in the mood, Discrimination, 
 he expresses it to his hearers by the inflection of his 
 voice, that is, by the differences in pitch. The change 
 from a high key to a lower, or from a low key to a higher, 
 draws attention to fhe word on which the change occurs, 
 and so draws attention to the different aspects of thought 
 in the speaker's mind. In fhe following passages, you 
 will notice far more of these inflections than there were 
 in those just given. 
 
 Aguinaldo, the insurgent chieftain of the Philippines, 
 is the son of a prominent native chief and was educated 
 by the Spanish priests in Manila, who thought that his 
 influence, when he grew up, would help to maintain 
 Spanish authority. With this object in view he was sent 
 to Madrid to finish his education for the priesthood. He- 
 preferred the life of a soldier, however, and after two 
 years returned home and enlisted in the army. Later 
 he organized a revolt among the native troops, and one 
 morning while on parade he and his followers shot all 
 the Spanish officers and then took to the swamps. At 
 that time he had about 4,000 men under his command. 
 The Governor-General offered a reward of $20,000 for his 
 head, and within a \veek received a note saying: "I need 
 the sum you offer very much and will deliver the head 
 
 [58] 
 
myself." Ten days later a priest came to the sentinels at 
 the. Governor-General's gate and asked if his Excellency 
 was within. They answered "Yes" and ushered him in. 
 The priest immediately locked the door behind him, and 
 said "Do you know me?" It was Aguinaldo with a 20-inch 
 bolo, a native knife, sharp as a razor, with which the 
 Malays can lop off an arm as tho it were a carrot. "I have 
 brought the head of Aguinaldo, and I claim the reward." 
 There was nothing else to be done, so the Governor-Genera] 
 opened his desk and counted out the sum in Spanish gold, 
 whereupon Aguinaldo wrote a receipt, cooly counted the 
 money and suddenly opening the door dashed out just 
 ahead of a pistol bullet that cut a lock of hair from his 
 temples. 
 
 The main witness against Waterson was one Delafield, 
 who swore he was working just outside the window of the 
 accused on the day of the crime, and saw Waterson open 
 a cupboard, take down a bottle, move aboul as if prepar- 
 ing a potion, and then administer the draught to Mrs. 
 Waterson, who died in great agony later in the day. 
 
 Waterson's lawyer, named Bradford, had asked the jury- 
 men when impaneled, if they had faitn enough in the 
 W T eather Bureau reports to attach credence to them, and 
 had found every man believed the records were fair and 
 reliable. The prosecuting attorney had not understood 
 the drift of these questions, but had not objected. 
 
 When it came to cross-examining, Bradford asked the 
 witness, Delafield, what he was doing outside Waterson's 
 window, and he said he was digging a cistern. 
 
 "When did you begin digging that cj stern?" 
 
 "November llth, the day Mrs. Waterson died." 
 
 "How much did you dig that day?" 
 
 "Oh, about three feet." 
 
 "What tools did you use?" 
 
 "A shovel." 
 
 "And a pick?" 
 
 "No, the ground was mellow." 
 
 "Work in an overcoat?" 
 
 "No; my shirt sleeves. The day was warm." 
 
 'Have anything to drink?" 
 
 "Had a little pail of water on the ground within reach." 
 
 "DidiVt it freeze?" 
 
 "No." The witness smiled scornfully. 
 
 Then Bradford offered in evidence a certified copy of 
 the Weather Bureau report for November I0'o:i and llth, 
 and showed that the temperature had been below freezing 
 the first day and below zero the day of tiie crime. 
 
 THE BRAZILIAN RAT-CATCHER 
 
 On the morning after my arrival, in descending the 
 staircase to go to breakfast, I was frightened half to 
 
 [59] 
 
death at seeing an enormous snake curled up on the floor 
 at the foot of the stairs. 
 
 The serpent was apparently asleep, but I was not at all 
 sure he might not be preparing to strike at me. So I ran 
 back up the stairs with all the speed I could manage, and 
 shouted for help. 
 
 In two minutes the hall was full of servants, all gazing 
 at me in astonishment; and my host rushed out of his own 
 apartment. 
 
 "What is the matter?" he asked, in his best English. 
 
 "Why, look there! Look at that snake!" 
 
 I pointed at the coiled-up monster at the foot of the 
 staircase, who FLOW had lifted up his head a little, and 
 was sleepily looking about him. 
 
 The servants held their hands to their mouths, and 
 my host laughed outright. 
 
 "Why," said he, "that's only Pedro; that's our giboia." 
 
 "Oh," said I, gasping, "I thought it was a big snake." 
 
 "It is a snake," said my host, "but it is perfectly harm- 
 less. You will not find a house in this part of Brazil with- 
 out one. They keep the premises clear of rats. Pedro 
 won't hurt you." 
 
 "But how am I going to get down-stairs?" I asked, un- 
 easily. 
 
 "Oh, you can step right over him." 
 
 I declined, however, to make this attempt; whereupon 
 a servant came forward and, seizing the snake about the 
 neck with both hands, dragged him out into the yard. 
 
 I saw that the creature was not less than four yards 
 long, and as thick as the arm of the negro who dragged 
 him out. 
 
 Before I left the place I found out a great deal about 
 "giboias." They are a species of small boa constrictor, 
 and are employed very generally in Brazil to catch rats. 
 They are inoffensive, apparently not at all venomous, and 
 in their domesticated condition, perfectly tame. 
 
 Tn his habits Pedro was a good example of his race, 
 though he was of larger size than the average. 
 
 All day long he slept somewhere in the house. But 
 after nightfall he glided swiftly about the premises, look- 
 ing for rats. 
 
 He even had holes which enabled him to get between 
 the floors and ceilings, and into the space within the par- 
 titions. 
 
 Whenever he found a rat he pounced upon him, wrap- 
 ped him in his folds and carried him out of the house, 
 leaving him dead. The servants told me that the backbone 
 of every rat he caught was broken in at least a dozen 
 places. 
 
 As for me, I preferred the rats to the 
 
 [60] 
 
3. A speaker is in the mood called Emotion, when the 
 way something affects him, the way he feels, is more 
 noticeable than the thing he is thinking or doing. The 
 feelings (joy, grief, sternness, gentleness, fear, friendli- 
 ness, etc.) show themselves by the quality of tone used; 
 whether it is pure, breathy, agitated, tense, etc. Quality 
 of tone is sometimes called texture of tone, or tone color. 
 
 The "fire-drill" is common in most Western schools. 
 The children are drilled frequently; at a given signal 
 every child is taught to take his place in the line, 
 and moving in precise step and keeping time to a drum, 
 they leave the schoolhouse without confusiota. 
 
 Principal Allen was proud of the fact that his five 
 hundred children could be marched out of the big build- 
 ing in about two minutes. 
 
 One day a teacher dashed into the principal's room 
 with the cry that the building was on lire. The principal 
 rang his gong, and there was an immediate stampede of 
 children from the rooms. No one remembered the fire- 
 drill or the drum, except the drummer. 
 
 Without a word to any one, and without waiting for 
 an order, he ran down two flights of stairs into the prin- 
 cipal's room, seized the drum from its hook, slung the 
 strap over his shoulder, and made his way to his post 
 at the foot of the stairs. 
 
 The smoke was dense in the hall, and up-stairs the 
 teachers were shouting to the children, trying to calm 
 the panic. The fire-engines w r ere at work outside. 
 
 Just as the five hundred pupils appeared at the top of 
 the stairs ready to rush down, to the certain death of 
 many in such a crush, the first notes of the drum, pounded 
 with all the drummer's might, were heard above the con- 
 fusion. The sound acted like a spell. 
 
 The principal, pulling from under the feet of the rush- 
 ing children some of the small ones who had already 
 fallen, shouted for them to keep step to the music. In- 
 stantly the force of long habit asserted itself; the feet 
 fell in orderly succession, and the entire mob of children 
 came down the stairs as calmly and evenly as if on parade, 
 as they had done a thousand times before. 
 
 The smoke was pouring about them, but in less time 
 than it takes to tell it, the last child had passed safely out, 
 keeping time to the music of the drum. 
 
 The drummer remained at his post until informed by 
 Mr. Allen that every one was safe. He had saved the 
 lives of many children and teachers by his coolness and 
 bravery, and when he came down the steps he was 
 greeted by a storm of cheers from the crowd outside. 
 
 [61] 
 
Mr. Ingersoll was once thrown incidentally into the 
 society of Henry Ward Beecher. There were four or five 
 prominent gentlemen present, and various topics were dis- 
 cussed, with decided brilliancy, but no allusion to religion. 
 Mr. Ingersoll was, of course, too polite to introduce the sub- 
 ject himself, but one of the party, finally desiring to see a 
 tilt between Beecher and Ingersoll, made a remark about 
 Colonel Bob's idiosyncracy, as he termed it. The colonel 
 at once defended his views, with his usual apt rhetoric, and 
 was replied to by several gentlemen in very effective re- 
 partee. 
 
 Contrary to the expectation of all, Mr. Beecher said not 
 a word. The gentleman who introduced the topic with 
 the hope that Mr. Beecher would answer Col. Ingersoll, 
 at last remarked: "Mr. Beecher, have you nothing to say 
 in regard to the question?" The old man slowly lifted 
 himself from his attitude, and replied: "Nothing; in fact, 
 if you will excuse me for changing the conversation, I 
 will say that while you gentlemen were talking, my mind 
 was bent on a most deplorable spectacle whlcn I witnessed 
 today/' 
 
 "What was it?" at once inquired Colonel Ingersoll. 
 
 ' 'Why,' said Mr. Beecher, 'as I was walking down 
 town today, I saw a poor cripple slowly and carefully 
 picking his way through a cesspool of mud, in the en- 
 deavor to cross the street. He had just reached the 
 middle of the filth when a big bully, himself all bespat- 
 tered with mud, rushed up to him, jerked the crutches 
 from under the unfortunate man, and left him sprawling 
 and quite helpless in the pool of liquid dirt, which almost 
 engulfed him." 
 
 ''What a brute he was!' said the colonel. 'What a 
 brute he was!' they all echoed. 
 
 " 'Yes, said Mr. Beecher, rising from his chair, and 
 brushing bark his long, white hair, while his eyes glit- 
 tered with their old-time fire; 'yes, Colonel Ingersol, and 
 you are the man. The human soul is lame, but Christi- 
 anity gives crutches to it to pass the highway of life. It 
 is your teaching that knocks the crutches from under it, 
 and leaves a helpless and rudderless wreck in the slough 
 of despond. If robbing the human soul of its only support 
 on this earth religion be your profession, why, ply it to 
 your heart's content. It requires an architect to erect a 
 building; an incendiary may reduce it to ashes.'" 
 
 4. The mood of utterance we call "Volition," is ex- 
 pressed by pressure of tone, sometimes called stress. 
 Notice how this pressure makes the tone more vibrant 
 and determined in some parts of the following passages: 
 
 [62] 
 
While President Faure of France was on a visit to 
 Russia he heard a number of stories of Peter the Great. 
 On his return he told this: 
 
 "Once in the imperial palace Peter was at table with 
 a great many princes and noblemen, and soldiers were 
 posted within the hall. The C'/,ar was in a joyous mood, 
 and rising 1 , called out to the company: 
 
 "Listen, princes and boyars; is there among you one 
 who will wrestle with me, to pass the time and amuse 
 the czar?" 
 
 There was no reply, and the czar repeated his chal- 
 lenge. No prince or nobleman dared wrestle with his 
 sovereign. But all at once a young dragoon stepped out 
 from the ranks of the soldiers on guard. 
 
 "Listen, orthodox czar," he said, "I will wrestle with 
 thee!" 
 
 "Well, young dragoon," said Peter, "I will wrestle with 
 thee, but on these conditions: if thou throwest me, I will 
 pardon thee: but if thou art thrown, thou shalt be be- 
 headed. Wilt thou wrestle on these conditions?" 
 
 "I will, grent czar!" said the soldier. 
 
 They closed, and presently the soldier, with his left 
 arm, throw the o/ar, and with his right he prevented him 
 from falling to the ground. The sovereign was clearly 
 beaten. 
 
 The czar offered the soldier whatever reward he should 
 claim, and the soldier ignobly claimed the privilege of 
 drinkins: free, as long as he lived, in all the inns belonging 
 to the crown. 
 
 What became of him history does not say, but, no 
 doubt it would have been better for him if the czar had 
 thrown him. 
 
 Patrick Sweeny, the faithful watchman on the New 
 York Central Railroad, a man eighty-five years old, six 
 feet tall and over, and of wonderful strength and vigor, 
 was the only man who did not strike in the recent trouble 
 a-mong the yardmen and switchmen on the line. But the 
 thing he .is best remembered for is his conduct at Stuy- 
 vesant, where he was switchman, away back in 1862. Fif- 
 teen carloads of Federal troops on a special train for New 
 York were held up by Sweeny because the train which 
 preceded it, had carried no signal to give warning of the 
 special just behind it. The comma-nder leaped from the 
 car and ordered the switch unlocked, enforcing his orders 
 at the point of his sword, Sweeny refused, and they hustled 
 him into his shanty, and, with half a dozen muskets with- 
 in three inches of his head, he was given one minute to 
 give up his key and let the train go on. "Not wan step 
 does this train move!" said S\yeeny. The officer's answer 
 was interrupted by a loud whistle, and the train from Al- 
 bany came flying 'by, and there were no more threats or 
 
 [63] 
 
angry words for Sweeny. His faithfulness and courage 
 had saved the lives of a whole train-load of soldiers. 
 
 A young Yorkshire skipper who had left a wife, two 
 young children, and a happy home on the land himself 
 pledged not to touch the liquor had weakly visited the 
 grog vessel to get tobacco. He was at once asked to drink, 
 but refused. He was dared. He refused. He was dared 
 to take "von leetle drop." In a fatal moment he mistook 
 what real courage meant, and tossed off a glass of ani- 
 seeded brandy. Alas, it didn't end there! 
 
 At night, as he had 'not returned, and the wind was 
 rising, his mate came for him, and the crew of the grog 
 vessel dumped the now unconscious skipper into the 
 small boat. With great difficulty the crew dragged his in- 
 sensate body on to his own vessel and laid him in the lee 
 scupper to cool off, while they reefed the ship down to 
 meet the threatening storm. 
 
 A little later the spray driving over the ship roused 
 the skipper, and, staggering to his feet, he came aft to the 
 tiller. "Give us the tiller, Ben," he said. "No," no, skip- 
 per, you are not well enough to steer. Go down and turn 
 in; we'll look after the ship." "Give us the tiller," roared 
 the skipper: "I'll steer the old ship to hell if I like." He 
 had scarcely seized the helm when a sea struck the rudder, 
 she kicked, and the tiller, catching him in the belly, flung 
 him over the side. 
 
 He was lost in the darkness, without a sound. 
 
 Sadly, with flag half-mast, the craft picked her way 
 homewards, and the mate had the duty of telling the wife 
 that her children were fatherless and that her fine young 
 husband had found a drunkard's grave at sea. 
 
 Give each of the incidents in these two lessons as viv- 
 idly as if you had been present. 
 
 [64] 
 
LESSON XIX 
 
 By gesture we mean every movement and attitude of 
 the body by which a person expresses his thought and 
 feeling. Gesture includes (1) bearing (the carriage and 
 attitude of the whole body), (2) gesticulation (of the hand 
 and arm), and (3) facial expression. 
 
 Gesture has been called a universal language, because 
 it expresses thought and feeling in such a way that even 
 a foreigner can get the general meaning. 
 
 Represent to the class, without using words, a man 
 buying (a) a collar in a foreign store; (b) a pocket-knife; 
 (c) a cake of soap. 
 
 One cannot express through gesture alone any thought 
 that is riot simple, and it is generally used more in the ex- 
 pressing of feelings than of thoughts. 
 
 But gestures are not something vague and intangible. 
 They have definite significance. The same words with 
 different gestures convey very different meanings. Take 
 the sentence, "I shall come tomorrow. 1 ' 
 
 1. Express in these words a child's joy at the thought 
 
 of going to his grandfather's. 
 
 2. Give the same words in such a way as to express a 
 
 hired man's question. 
 
 3. Give them to express the fierce threat of an enemy. 
 
 4. Give them as the threat of a powerful king. 
 
 As you put yourself in the place of these four different 
 persons you use different gestures of body, hand, and face 
 to express the four different meanings. Perhaps you were 
 unconscious of your different attitudes and movements, but 
 the purpose, or significance, was there whether conscious 
 or not. Indeed most of our purposes become unconscious, 
 or to speak more correctly, sub-conscious, through habit. 
 When a child is learning to walk he is painfully con- 
 scious of his purpose to place his feet properly and main- 
 tain his balance. When he grows up he has the same 
 purpose but he is not conscious if it, it has become a 
 habit. So with riding a bicycle, you intend to steer clear 
 
 [65] 
 
of trees and ditches, but you steer instinctively, not with 
 a conscious purpose; yet every pressure of your hands on 
 the handle-bars, and every movement of your body in bal- 
 ancing, lias a purpose and significance although it has 
 become instinctive, or sub-conscious, through habit. 
 
 In a similar way every gesture has meaning, it shows 
 some purpose, though it may be sub-conscious. That is, 
 every gesture signifies something whether you make it 
 intentionally or instinctively. The speaker does not in- 
 tend to twitch his lingers or his cuffs, but those move- 
 ments signify something; they show that he is nervous or 
 embarrassed. 
 
 We occasionally hear some superior person remark: 
 "I prefer to stand quietly, without making any gestures, 
 arid speak in a dignified manner." Let us suppose this 
 gentleman has invited a friend to come and visit him. A 
 carriage rolls up, the guesf alights, and eagerly comes up 
 the steps. The gfni!em;m stands quietly in the doorway, 
 without making any gesture, and speaks in a dignified 
 manner, (perhaps keeping both hands behind his back.; 
 "I am glad 'to welcome you on this occasion." But the 
 guest seems to feel a chilliness in this gesture-less wel- 
 come, for he stops half way up the steps, and mutters to 
 himself: "His words are good enough but his actions con- 
 tradict his words. I don't believe he is really glad to 
 have ino come.'' 
 
 It is there fore an error to say Mr. So-and-so does not 
 use any gestures. If he keeps his hands behind him, holds 
 the reading-desk with both hands, rises on his toes or 
 heels, or shifts uneasily from one foot to the other, all 
 this is gesture, and it all signifies something. If he stands 
 as stiff as a bit of pasteboard, he is gesturing; just as 
 truly as if he were swinging his arms like a windmill. 
 
 The practical question, then, is not "shall I use ges- 
 tures?" but "shall I use gestures that reveal my awkward- 
 ness, my fear of the audience, my desire to be admired; or 
 shall I learn to use gestures that will help me to express 
 exactly what I mean, and exactly how -I feel?" 
 
 In our study of gesture we shall begin with Bearing 
 because that is the most important part of gesture. 
 
 The whole mind is in harmony, and the whole body 
 should be also; all parts unitedly express the same thing. 
 
 [66] 
 
Ii the mind is in a questioning attitude, the hand will be 
 also, so will the feet, and the face. 
 
 The carriage of the whole body effects and modifies the 
 particular gestures of hand or face. For example, in the 
 type of thought we call Presentation the gestures will be 
 fewer and smaller than in Emotion. In Discrimination 
 they will be more precise, in Volition more firm, direct 
 and vigorous. The gesture of "pointing out" some object 
 or some idea may be made in one case by a slight motion 
 of the hand and wrist, in another by the action of the 
 whole arm. If the mind is calm, it will be made one way: 
 if excited, it will be made another way. 
 
 Since one's bearing is largely dependent on the posi- 
 tion of his feet, we shall label the different attitudes of the 
 body Feet Attitudes. But there is some danger in using 
 a name that does not fully describe, and we must not 
 forget that these are riot merely positions of ilie feet, but 
 are attitudes of the whole body. Indeed they might truly 
 be called Mind Attitudes, for they show the different atti- 
 tudes of the mind. 
 
 EXERCISES 
 
 Describe Exercises 13-15 as clearly and vividly as you 
 would if giving them for the first time to a class of 
 your own. Then lead the class in practicing them 
 correctly. 
 
 REVIEW QUESTIONS 
 
 1. What are gestures? 
 
 2. What are gestures for? 
 
 3. Have gestures any definite meaning? Do they convey 
 thought and feeling? 
 
 4. Can the same words mean different things when 
 
 given with different tones and gestures? 
 
 5. If a man is frequently touching his cuffs, feeling his 
 
 necktie, or his mustache, do these gestures mean 
 anything? 
 
 6. Will Emotion or Discrimination have the more pre- 
 
 cise gestures? 
 
 7. Will Presentation have quicker gestures than Voli- 
 
 tion? 
 
 8. In which mood will the speaker make the fewest ges- 
 
 tures? 
 
 [67] 
 
9. In which mood will the speaker make the largest 
 gestures? 
 
 10. What is the difference between gesture and gesticu- 
 
 lation? 
 
 11. What two other names might we give to the Feet 
 
 Attitudes? 
 
 12. Give these words, "What is truth?" so as to convey 
 
 different meanings: 
 
 a. How does the hardened, careless, sneering Pilate 
 
 say it? 
 
 b. How would the words be said by the thoughtful, 
 
 perplexed Nicodemus, who has tried hard to 
 understand? 
 
 c. How would the eager, adoring Mary say it? 
 
 d. Is this the same thought in each case, or is the 
 
 thought different, though the words are the 
 same? 
 
 13. When a student says, "I want help on my oration, 
 
 but I don't want to put in any gestures," what 
 would you say? 
 
 14. Do a speaker's gestures ever contradict his words? 
 
 Ought they to do so? 
 
 [68] 
 
FEET ATTITUDES 
 
LESSON XX 
 
 For convenience we shall study the Feet Attitudes in 
 three sections. Those attitudes in which the weight of the 
 body is on both feet, those in which the weight is on the 
 rear foot, and those in which the weight is on the front 
 footn-it makes no difference whether the right or left foot 
 be forward. 
 
 Weight on Both Feet: 
 
 1. Heels together, expresses Deference. 
 
 2. Far apart, weight on heels, Swaggering. 
 
 3. Far apart, weight on balls, Stedfastness. 
 
 4. One advanced, Hesitation. 
 
 Weight on Back Foot: 
 
 5. Front leg relaxed, Repose. 
 
 6. Front leg braced, Antagonism. 
 
 7. Front leg straight and strong leg bent, Recoil. 
 
 Weight on Front Foot: 
 
 8. Free leg relaxed, Animation. 
 
 9. Strong leg bent, Explosion. 
 10. Transition. 
 
 1. Deference- In the attitude of Deference, you defer 
 to somebody else; you hold your own plans or wishes in 
 check and allow the other person to have his way. Defer- 
 ence is the typical attitude of a servant: 
 
 Did you call me, Sir? 
 
 or, of one yielding himself to another's direction: 
 I am ready, Sir, to follow you. 
 
 or, of a man giving up his own rights to his guest: 
 
 You are welcome to my house. 
 Will you take a chair? 
 
 2. Swaggering. This attitude shows reckless indiffer- 
 ence or easy-going, rather insolent carelessness: 
 
 Oh, yes I'll do it if you want me to. 
 [69] 
 
I can as well be hanged as tell the manner of it. They 
 offered him a crown, yet 'twas not a crown neither, 'twas 
 one of these coronets. 
 
 3. Stedfastness. This attitude shows tliat one is reso- 
 lutely upholding an important truth, or a great cause. It 
 indicates established strength, and firm foundations. The 
 fact that a statement is true does not call for "stedfast- 
 ness," it demands a certain grandeur of moral earnestness. 
 
 Three millions of people armed in the holy cause of lib- 
 erty, . . . are invincible by any force which our enemy 
 can send against us. 
 
 comrades, warriors, Thracians, if we must fight, let 
 us fight for ourselves. 
 
 Jehovah that delivered me out of the paw of the lion, 
 a-nd out of the paw of the bear, he will deliver me out of 
 the hand of this Philistine. 
 
 4. Hesitation. In this attitude the mind is drawn two 
 ways at once, and cannot quite decide which to take; 
 whether it is wise to go forward, or, safer to go back. 
 
 Listen, is that the enemy, shall we go this way or this? 
 Well I don'tj know what to say. 
 
 1. Study the following selection till you understand it 
 
 thoroughly. 
 
 2. Mark any cases of Deference, Swaggering, Stedfast- 
 
 ness, or Hesitation in it. 
 
 CRIME ITS OWN DETECTOR 
 
 Against the prisoner at the bar, as an individual, I can- 
 not have the slightest prejudice. I would not do him the 
 smallest injury or injustice. But I do not affect to be in- 
 different to the discovery and the punishment of this deep 
 guilt. An aged man, without an enemy in the world, in his 
 own house, and in his own bed, is made the victim of a 
 butcherly murder, for mere pay. The circumstances now 
 clearly in evidence spread out the whole scene before us. 
 Deep sleep had fallen on the destined victim, and on all be- 
 neath his roof. A healthful old man, to whom sleep was 
 sweet the first sound slumbers of the night held him in 
 their soft but strong embrace. 
 
 The assassin enters through the window, already pre- 
 pared, into an unoccupied apartment; with noiseless foot 
 he paces the lonely hall, half lighted by the moon; he 
 
 [70] 
 
winds up the ascent of the stairs, and reaches the door of 
 tiie chamber. 01 this he moves the lock, by soft and con- 
 tinued pressure, till it turns on its hinges; and he enters 
 .and beholds his victim before him. The room was uncom- 
 monly light. The face of the innocent sleeper was turned 
 from the murderer; and the beam's of the moon resting 
 on the gray locks of his aged temple showed him where 
 to strike. The fatal blow is given, and the victim passes, 
 without a struggle or a motion, from the repose of sleep 
 to the repose of death! It is the assassin's, purpose to 
 make sure work; a-nd he yet plies the dagger, though it 
 was obvious that life had been destroyed by the blow of 
 the bludgeon. He even raises the aged arm, that he may 
 not fail in his aim at the hea-rt, and replaces it again over 
 the wounds of the poniard! To linish the picture, he ex- 
 plores the wrist for the pulse! he feels it, and ascertains 
 that it beats no longer! it is accomplished! The deed is 
 done! He retreats retraces his steps to the window, 
 passes through as he came in. and escapes. He has done 
 the murder; no eye has seen him, no ear has heard him; 
 the secret is his own, and he 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. A thousand eyes turn at once to ex- 
 plore every man, every tiling, every circumstance, con- 
 nected with the time and place; a' thousand ears catch 
 every whisper; a thousand excited minds intently dwell 
 on the scene: shedding all their light, and ready to kindle 
 the slightest cireurnstp.nce into the blaze of discovery. 
 Meantime the guilty soul cannot keep its own secret. It is 
 false to itself or rather it f-els an irrestible impulse of 
 conscience to be true to itself it labors under its guilty 
 possession and knows not what to do with it. He feels it 
 beating at his heart, rising to his throat, and demanding 
 disclosure. He thinks the whole world sees it in his face, 
 reads it in his eyes, and almost hears its workings in the 
 very silence of his thoughts. Tt has become his master; 
 it betrays his discretion; it breaks down his courage; it 
 conquers his prudence. Whon suspicions, from without, 
 begin to ombarass him, and the net of circumstances to 
 entangle him, the fatal secret struggles with still greater 
 violence to hurst forth. Tt must be confessed, it will be 
 confessed; tbore is no refuge from confession but in sui- 
 cide, arid suicide is confession. Daniel Webster. 
 
 EXERCISES 
 
 Describe exercises 16-17 as clearly and vividly as you 
 would if giving them for the first time to a class of your 
 own. Then lead the class in practising them correctly. 
 
 [71] 
 
REVIEW QUESTIONS 
 
 1. Does a speaker always stand in a typical Feet At- 
 
 titude? Are these types ever modified? 
 
 2. Does it matter which foot is forward in "Repose 1 '? In 
 
 "Animation?" 
 
 3. Which is more important, the position of the feet or 
 
 the attitude of the whole body? 
 
 4. Form a mental picture of Deference, Swaggering, 
 
 Steadfastness, etc. Do not think "feet apart" but 
 think "swagger." 
 
 [72] 
 
LESSON XXI 
 
 5. Repose. In this attitude one's mind is restful and 
 comfortable, in perfect control of itself and of its sur- 
 roundings. This is the normal condition; the mind is at 
 ease, not stirred by any great thought or strong feeling. In 
 conversation and generally in addresses, more than half the 
 utterances will be in Repose. 
 
 But now, in this Valley of Humiliation, poor Christian 
 was hard put to it: for he had gone but a little way before 
 he espied a foul fiend coming over the field to meet him: 
 his name is Apollyon. 
 
 John Maynard was well-known in the lake district as a 
 God-fearing, honest, and intelligent pilot. He was pilot 
 on a steamboat from Detroit to Buffalo. 
 
 He has done the murder; no eye has seen him, no ear 
 has head him, the secret is his own, and he is safe. 
 
 My early life ran quiet as the brooks by which I 
 sported, and when at noon I gathered the sheep beneath the 
 shade, and played upon the shepherd's flute, there was a 
 friend, and the son of a neighbor, to join me in the pastime. 
 
 6. Antagonism. By this we do not mean pugnacity. An- 
 tagonism is not a desire to fight, but a bracing one's-self 
 against something unpleasant or inferior, together with a 
 strong sense of one's own worth or even one's superiority. 
 In this attitude one draws himself back, or draws him- 
 self up, in Dignity, in Authority, in Pride, in Scorn, or in 
 Defiance. These of course express different degrees of an- 
 tagonism. Douglas takes an extreme form of this attitude 
 when he refuses to shake hands with Marmion. 
 
 My manors, halls and bowers shall still 
 
 Be open at rny sovereign's will, 
 To each one whom he lists, howe'er 
 
 Unmeet to be the owner's peer. 
 
 The Praetor drew back, as I were pollution, and sternly 
 said, "Let the carrion rot, there are no noble men but 
 Romans." 
 
 Simpson, go below and see what the matter is down 
 there. 
 
 [73] 
 
Is life so clear, or peace so sweet, as to be purchased at 
 the price of chains and slavery? 
 
 Which kind of antagonism is expressed In each of these 
 examples? 
 
 7. Recoil. This is the attitude when one is startled, or 
 shrinks back in fear, or in horror. 
 
 Note: We rarely see an example of the extreme type of 
 Recoil on tiie public platform, but milder typos, sugges- 
 tions of. this attitude are frequent. Only a small part, of 
 course, of the two passages below would be spoken in 
 "recoil," but the context is given so that the student can 
 approach I he "recoil"' more naturally. 
 
 Brutus. () ('assius T am sick of many griefs. 
 
 Cassius. Of your philosophy you make no use, if you give 
 
 place to accidental evils. 
 
 Brutus. No man bears sorrow better. Portia is dead. 
 Cassius. Ha! Portia! 
 
 (William TH1 the Swiss patriot in chains before the 
 Ausirian invader (lesler.) 
 G-esler. Beware! think on thy chains. 
 Tell. Though they were doubled, and did weigh me down 
 
 prostrate to earth, iwfhinks I could rise up erect, with 
 
 noMiiiur but the horn st pride of telling thee, usurper, 
 
 f.o thy teeth, thou are a monster .... 
 Gesler. ito officer; Lead in his son. Now will T take 
 
 exquisite venueance. (To Tell) T have destined him to 
 
 die alonu' with thee. 
 Tell. To die! for what? Ho's but a child. 
 
 1. Mark in the margin below all the examples you rec- 
 
 ognize of the seven kinds of feet attitudes .so far 
 studied. 
 
 2. Give these heartily, without the book, of course, even 
 
 if you do not give the exact worus. 
 
 MARMION TAKING LEAVE OF DOUGLAS. 
 
 The train from out the castle drew; 
 But Marmion stopped to bid adieu 
 
 "Though something I might plain" he said. 
 "Of cold respect to stranger guest, 
 Sent hither by your king's behest, 
 
 While in Tantallon's towers I stayed 
 Part wo in friendship from your land, 
 And noble earl, receive my hand." 
 But Douglas round him drew his cloak, 
 Folded his arms, and thus he spoke: 
 [74] 
 
"My manors, halls and bowers, shall still 
 Be open, at my sovereign's will, 
 
 To each one whom he lists, howe'er 
 Unmeet to be the owner's peer. 
 
 My castles are my king's alone, 
 
 From turret to foundation-stone 
 The hand of Douglas is his own; 
 And never shall in friendly grasp 
 The hand of such as Marmion clasp!" 
 
 Burned Marmion's swarthy cheek like fire, 
 And shook his very frame for ire, 
 
 And "This to me!" he said; 
 
 "An't were not for thy hoary beard, 
 Such hand as Marmion's had not spared 
 
 To cleave the Douglas head! 
 And, Douglas, more I tell thee here, 
 Even in thy pitch of pride, 
 
 Here in thy hold, thy vassals near, 
 
 I tell thee, thou'rt defied! 
 And if thou saidst I am not peer 
 
 To any Lord in Scotland here, 
 
 Lowland or Highland, far or near, 
 Lord Angus, thou hast lied!" 
 
 On the earl's cheek the flush of rage 
 
 O'ercame the ashen hue of age; 
 
 Fierce he broke forth: "And^darest thou, then, 
 To beard the lion in his den 
 The Douglas in his hall? 
 
 And hopest thou hence unscathed to go? 
 
 No, by Saint Bride of Bothwell, no! 
 Up drawbridge, grooms! what, warder, ho! 
 
 Let the portcullis fall." 
 Lord Marmion turned well was his needj 
 
 And dashed the rowels in his steed; 
 Like arrow through the archway sprung, 
 The ponderous gate behind him wrung; 
 To pass there was such scanty room, 
 The'bars, descending, razed his plume. 
 
 The steed along the drawbridge flies, 
 
 Just as it trembled on the rise: 
 
 Nor lighter does the swallow skim 
 
 Along the smooth lake's level brim: 
 
 And when Lord Marmion reached his band, 
 
 He halts, and turned with clenched liand, 
 
 And shout of loud defiance pours, 
 
 And shook his gauntlet at the towers! 
 
 Sir Walter Scott. 
 
 EXERCISES 
 
 Describe exercises 18-20 briefly and vividly, then lead 
 the class in practicing them. Be prompt and accurate. 
 
 [75] 
 
LESSON XXII 
 
 8. Animation is the attitude of body that expresses alert- 
 ness, earnestness, eagerness. The speaker instinctively 
 gets nearer to his hearer as he becomes more urgent; thus 
 Animation tends to draw near, while Antagonism tends to 
 draw away from. 
 
 Do you mean, sir, to accuse me of bribery? 
 
 That very night the Romans landed on our coast. 
 
 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, in fraternal blood! 
 Let their last feeble and lingering glance, rather, behold 
 the gorgeous ensign of the republic, now known and hon- 
 ored 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 de- 
 lusion and folly Liberty first and union afterward; but 
 everywhere spread all over in characters of living light, 
 blazing on all its ample folds, as they float over the sea 
 and over tho land in every wind under the whole heaven, 
 that other sentiment, dear to every true American heart 
 Liberty and union; now and forever, one and inseparable! 
 
 Webster. 
 
 If ye are beasts; then stand here like fat oxen waiting 
 for the butcher's knife. If ye are men, follow me. Strike 
 down yon guard, gain the mountain passes, and there do 
 bloody work, as did your sires at old Thermopylae. 
 
 9. Explosion is Animation carried to the extreme. The 
 speaker is so over-eager that he becomes excited. He 
 leans forward so eagerly that his strong knee (the one on 
 which his weight is) bends. He loses poise, he almost 
 loses his self-control. 
 
 See that man drowning there, throw him a rope quick. 
 
 Burned Marmion's swarthy cheek like fire, 
 And shook his very frame for ire, 
 And "This to me!" he said. 
 
 [76] 
 
If it will feed nothing else it will feed my revenge. 
 
 In the following passage the first two lines are Ani- 
 mation, the third and fourth Repose, the fifth Animation 
 again, which in the sixth passes into Explosion. 
 
 "Once more unto the breach, dear friends, once 
 
 more, 
 
 Or close the wall up with our English dead. 
 In peace there's nothing so becomes a man 
 As modest stillness and humility: 
 But when the blast of war blows in our ears, 
 Then imitate the action of the. tiger; 
 Stiffen the sinews, summon up the blood, 
 Disguise fair nature with hard-favor'd rage; 
 Now set the teeth and stretch the nostril wide, 
 Hold hard the breath and bend up every spirit, 
 To his full height. On, on, you noblest English, 
 Whose blood is fet from fathers of war-proof." 
 
 Shakespeare's Henry V. 
 
 10. Transition. When one turns from one topic to an- 
 other, or from one aspect of a topic to another, it is nat- 
 ural to change the body also. Usually the speaker moves 
 from Repose with the weight on the right or left foot, to 
 Repose with the weight on the other foot. Sometimes how- 
 ever he takes a step, or several steps. Such transition of 
 body should not occur unless there is transition in the 
 thought. 
 
 I have showed you the proved facts gentlemen; now 
 from such facts what conclusion are we forced to draw? 
 
 And then besides his unimpeachable character, he had 
 what is half the power of a popular orator, a majestic 
 presence. 
 
 a. Mark the Feet Attitudes of the following: 
 
 1. The world is too much with us; late and soon, 
 Getting and spending, we lay waste our powers. 
 Little we see in Nature that is ours; 
 
 We have given our hearts away, a sordid boon! 
 
 2. Great in life he was surpassingly great in death. 
 
 3. Thou wilt not leave us in the dust: 
 Thou madest man, he knows not why, 
 He thinks he was not made to die; 
 And thou hast made him: thou art just. 
 
 4. Speak, what trade art thou? 
 Why, sir, a carpenter. 
 
 [77] 
 
5. Charles Sumner insult the soldiers who had spilled 
 their blood in a war for human rights! 
 
 6. ^apoleon shouted to him: "Beat a retreat." The 
 boy did not stir. "Gamin, beat a retreat." The boy stop- 
 ped, grasped his drumsticks, and said: "I do not know how 
 to beat a- retreat. Desaix never taught me that. But I can 
 beat a charge. Oh! I can beat a charge that would make 
 the dead fall into line. I beat that charge at the Pyramids; 
 I beat that charge at Mt. Tabor; I beat it again at the bridge 
 of Lodi. May I beat it here?" 
 
 b. Find two examples of each feet attitude in David 
 and Goliath, page 29. 
 
 EXERCISES 
 
 Describe exercises 21-24 clearly, vividly and briefly. 
 Then lead the class in practising them. Do not let anyone 
 perform them in a slovenly way; be brisk and accurate. 
 
 [78] 
 
LESSON XXIII 
 
 Feet Attitudes (continued) 
 
 In the following selection, Mr. Gradgrind speaks the 
 first paragraph, then the author explains to us (in the 
 three following paragraphs) \vhat sort of man Mr. Grad- 
 grind is. 
 
 1. After studying the selection, mark in the margin, 
 
 the Feet Attitudes. 
 
 2. In each case give reasons why you think the speak- 
 
 er should be in the attitude named. 
 
 3. What is the usual feet attitude in Gradgrind? Of 
 
 the government officer? Of Sissy Jupe? 
 
 GRADGRIND'S IDEA OF EDUCATION 
 
 "Now what I want is Facts. Teach these boys and 
 girls nothing but Facts. Facts alone are wanted in life. 
 You can only form the minds of reasoning animals upon 
 Facts: nothing else will ever be of any service to them. 
 This is the principle on which I bring up my own chil- 
 dren, and this is the principle on which I bring up these 
 children. Stick to Facts, sir! In this life we want nothing 
 but Facts, sir; nothing but Facts!" 
 
 The speaker and the schoolmaster, and the third grown 
 person present, all backed a little, and swept with their 
 eyes the inclined plane of little vessels then and there 
 arranged in order, ready to have gallons of facts poured 
 into them until they were full to the brim. 
 
 Thomas Gradgrind, sir. A man of realities. A man of 
 facts and calculations. A man who proceeds upon the prin- 
 ciple that two and two are four, and nothing over, and who 
 is not to be talked into allowing for anything over. Thomas 
 Gra-dgrind, sir, with a rule and pair of scales, and the mul- 
 tiplication table always in his pocket, sir, ready to weigh 
 and measure any parcel of human nature, and tell you 
 exactly what it comes to. 
 
 It is a mere question of figures, a case of simple arith- 
 metic. You might hope to get some other nonsensical be- 
 lief into the head of George Gradgrind, or Augustus Grad- 
 grind, or John Gradgrind. or Joseph Gradgrind, but into the 
 head of Thomas Gradgrind no, sir! Indeed, he seemed a 
 kind of cannon loaded to the muzzle with facts. 
 
 "Girl number twenty," said Mr. Gradgrind, squarely 
 [79] 
 
pointing with his square forefinger. "I don't know that 
 girl. Who is that girl?" 
 
 "Sissy Jupe, sir," explained number twenty, blushing, 
 standing up, and courtesying. 
 
 "Sissy is not a name," said Mr. Gradgrind. "Don't call 
 yourself Sissy. Call yourself Cecilia." 
 
 "Father calls me Sissy, sir," returned the young girl 
 in a trembling voice, and with another courtesy. 
 
 "Then he has no business to do it," said Mr. Gradgrind. 
 "Tell him he mustn't. Cecilia Jupe. Let me see. What is 
 your father?" 
 
 "He belongs to the horse-riding,* if you please, sir." 
 
 Mr. Gradgrind frowned, and waved off the objectionable 
 calling with his hand. 
 
 We don't want to know anything about that, here. 
 You mustn't tell us about that here. Your father breaks 
 horses, don't he?" 
 
 "If you please, sir, when they can get any to break, they 
 do break horses in the ring, sir." 
 
 "You mustn't tell us about the ring here. Very well, 
 then. He doctors sick horses, I dare say." 
 
 "0 yes, sir!" 
 
 "Very well, then. He is a veterinary surgeon, a far- 
 rier, and horse-breaker. Give me your definition of a 
 horse." Sissy Jupe was thrown into the greatest alarm 
 by this demand. 
 
 "Girl number twenty unable to define a horse!" said 
 Mr. Gradgrind. "Girl number twenty possessed of no facts, 
 in reference to one of the commonest of animals! Some 
 boy's definition of a horse. Bitzer, yours." 
 
 "Quadruped. Graminiverous. Forty teeth, namely, 
 twenty-four grinders, four eye teeth, and twelve incisive. 
 Sheds coat in the spring; in marshy countries sheds hoofs 
 too. Hoofs hard but requiring to be shod with iron. Age 
 known by marks in the mouth." 
 
 "Now, girl number twenty," said Mr. Gradgrind, "you 
 know what a horse is." 
 
 The third gentleman now stepped forth. A mighty 
 man at cutting and drying, he was; a government officer; 
 always in training, always with a system to force down 
 the general throat. 
 
 "Very well," said the gentleman briskly. "That's a 
 horse. Now, let me ask you, girls and boys, Would you 
 paper a room with representations of horses?" 
 
 After a pause, one-half of the children cried in chorus, 
 "Yes, sir!" upon which the other half, seeing in the 
 gentleman's face that "yes" was wrong, cried out in a 
 chorus. "No, sir!" as the custom is in these examina- 
 tions. "Of course not. Why wouldn't y9u?" 
 
 A pause. One corpulent, slow boy, with a wheezy man- 
 
 Her father rides In the circus. 
 
 [80] 
 
ner of breathing, ventured to answer, "Because I wouldn't 
 paper a room at all, I'd paint it." 
 
 "You must paper it," said the gentleman, rather warmly. 
 
 "Yes, you must paper it," said Thomas Gradgrind, 
 "whether you like it or not. Don't tell us you wouldn't 
 paper it. What do you mean, boy?" 
 
 "I'll explain to you then," said the gentleman, after a 
 dismal pause, "why you wouldn't paper a room with repre- 
 sentations of horses. Do you ever see horses walking up 
 and down the sides of rooms in reality, in fact? Do you?" 
 
 "Yes sir," from one-half. "No, sir," from the other. 
 
 "Of course not," said the gentleman, with an indignant 
 look at the wrong half. "Why, then, you are not to see 
 anywhere what you don't see in fact; you are not to have 
 anywhere what you don't have in fact. What is called 
 taste is only another name for fact. This is a new prin- 
 ciple, a discovery, a great discovery," said the gentleman. 
 "Now I'll try you again. Suppose you were going to carpet 
 a room, would you use' a carpet having a representation of 
 flowers upon itf 
 
 There being a general conviction by this time that "No, 
 sir" was always the right answer to this gentleman, the 
 chorus of "no" was very strong. Only a few feeble strag- 
 glers said "yes;" among them Sissy Jupe. 
 
 "Girl number twenty," said the gentleman, smiling in 
 the calm strength of knowledge. 
 
 Sissy blushed, and stood up. 
 
 "So you would carpet your room with representations 
 of flowers, would you?" said the gentleman. "Why would 
 you?" 
 
 "If you please, sir, I am very fond of flowers," returned 
 the girl. 
 
 "And is that why you would put tables and chairs upon 
 them, and have people walking over them with "heavy 
 boots?" 
 
 "It wouldn't hurt them sir. They wouldn't crush and 
 wither, if you please, sir. They would be pictures of what 
 was very pretty and pleasant, and I would fancy" 
 
 "Ay, ay, ay! but you musn't fancy," cried the gentle- 
 man, quite elated by coming so happily to his point. 
 "That's it! You are never to fancy." 
 
 "You are not, Cecilia Jupe," Thomas Gradgrind solemn- 
 ly repeated, "to do anything of that kind." 
 
 "You are to be in all things regulated and governed," 
 said the gentleman, "by Fact. You must discard the word 
 'fancy 1 altogether. You have nothing to do with it. You 
 don't walk upon flowers in fact: you cannot be allowed to 
 walk upon flowers in carpets. You never meet with 
 quadrupeds going up and down the walls; you must not 
 have quadrupeds represented upon walls. You must use," 
 said the gentleman, "for all these purposes, combinations, 
 and modifications (in primary colors) of mathematical 
 
 [81] 
 
figures which are susceptible of proof and demonstration. 
 This is the new discovery. This is fact. This is taste." 
 
 Charles Dickens. 
 
 EXERCISES 
 
 Describe briefly but clearly exercises 25-27. Then lead 
 the class in practising them, rapidly and correctly. 
 
 [82] 
 
LESSON XXIV 
 
 1. Make yourself see vividly each of these incidents, 
 then mark in the margin of each five Feet Attitudes. 
 
 2. While one student is giving an incident let the rest 
 
 of the class write a list of the Feet Attitudes ho 
 uses; later see if the observers agree as to what at- 
 titudes he actually used while telling it. (Do not 
 discuss at this time whether his attitudes were 
 right or wrong.) 
 
 In a town in the far West, a crowd of cowboys stood 
 around a fenced enclosure, beside the railroad track. In 
 this enclosure was confined a large bull. The cowboys 
 were amusing themselves by annoying in many ways the 
 poor brute, who was fast becoming furious. 
 
 Suddenly, one of their number, lightly vaulting the 
 fence, landed squarely astride of the bull's neck, and grasp- 
 ed him by the horns. The infuriated animal plunged and 
 snorted, but his rider, with wonderful agility, quickly 
 leaped to the ground, and before the bull could turn and 
 gore him, sprang over the fence again to be greeted by the 
 applause of his comrades. 
 
 Their attention was soon diverted, however, by the ar- 
 rival of a passenger train which was just drawing up to 
 the station across the street, and the cowboys, with shouts 
 and laughter, ran across toward the platform. 
 
 Meanwhile, the now maddened bull had succeeded in 
 breaking through the fence, and with tossing head and 
 lashing tail was trotting across the street, bellowing as he 
 went. 
 
 Just then a young man, satchel in hand, came running 
 down the street to catch the train, passing on his way some 
 farmers who were standing some distance from the bull. 
 
 They shouted to the young matn as he passed, "Hi, 
 there! Stop! The bull! The bull!" but he kept on, with 
 a wave of the hand, "All right! I'll look out for him." 
 
 The next instant the bull saw him, and with lowered 
 horns, ran to head him off. But the young man was a 
 fast runner. He passed just in front of the bull's head, 
 which, the next instant, brought up with a thud against 
 the side of the station. It was a very close shave. 
 
 Dazed by the shock, the bull stood still for a moment, 
 then turned just as two children, who had arrived on the 
 train and had passed through the station, started to cross 
 the street. When they turned the corner of the building, 
 
 [83] 
 
they caught the animal's eye, and quick as a flash he 
 charged them. 
 
 A cry of horror went UD from the group of farmers, as 
 the two little girls, now aware of their danger, started to 
 run hand in hand. 
 
 A stalwart young farmer soon appeared a short distance 
 behind them. He took in the situation at a glance. By 
 hard running, he overtook the bull when but a few feet 
 from the children, quickly grasped with both hands the 
 horn nearest him, set his feet firmly, and with one quick, 
 strong, downward and backward jerk, threw the animal 
 heavily to the ground. 
 
 With the help of the other farmers, who by this time 
 had reached the spot, the bull was secured and led away 
 where he could do no more harm. 
 
 Thus, in less time than it has taken to tell it all, oc- 
 curred examples of three distinct human qualities, which 
 in the minds of many people are often confounded bra- 
 vado, recklessness and courage. 
 
 It was in Union Square, where the jam was greatest, 
 that the three-horse team drawing a fire-engine took 
 fright and ran away, straight into the crowd, dragging the 
 ponderous vehicle after them. Two seconds and scores 
 would have been trampled helpless under their feet. Es- 
 cape there was none. A shriek of horror went up, that 
 was turned into an exhultant cheer as Policeman Griffen- 
 hagen threw himself in the path Qf the horses, seized their 
 bits, and was dragged into the multitude, torn, bleeding, 
 and trampled by the iron-shod hoofs, but still hanging to 
 them, barring the way with his body till help came. 
 Griffenhagen never recovered from his supreme effort. He 
 was retired after years of invalidism, his nervous system 
 hopelessly shattered; but every policeman walked with a 
 lighter step that night and after. The dull routine of .his 
 life was glorified by his comrade's heroism^ 
 
 BERNARDO DEL CARPIO 
 
 1. The warrior bowed his crested head, and tamed his 
 
 heart of fire, 
 And sued the haughty king to free his long-imprisoned 
 
 sire; 
 "I bring thee here my fortress-keys, I bring my captive 
 
 train, 
 I pledge thee faith, my liege, my lord! 0! break my 
 
 father's chain!" 
 
 2. "Rise, rise! even now thy father comes, a ranspmed 
 
 man, this day! 
 Mount thy good horse; and thou and I will meet him on his 
 
 way." 
 
 Then lightly rose that loyal son, and bounded on his steed, 
 
 [84] 
 
And urged, as if with lance in rest, the charger's foamy 
 speed. 
 
 3. And lo! from far, as on they pressed, there came a 
 
 glittering band, 
 With one that 'midst them stately rode, as a leader in the 
 
 land; 
 
 "Now haste, Bernardo, haste! for there, in very truth, is he, 
 The father whom thy faithful heart hath yearned so long 
 
 to see." 
 
 4. His dark eye flashed, his proud breast heaved, his 
 cheek's hue came and went; 
 
 He reached that gray-haired chieftain's side, and there, dis- 
 mounting, bent; 
 
 A lowly knee to earth he bent, his father's hand he took 
 What was there in its touch that all his fiery spirit shook? 
 
 5. That hand was cold a frozen thing it dropped from 
 
 his like lead! 
 
 He looked up to the face above the face was of the dead! 
 A plume waved o'er the noble brow/ the brow was fixed 
 
 and white; 
 He met, at last, his father's eyes but in them was no sight! 
 
 6. Up from the ground he sprang and gazed; but who 
 could paint that gaze? 
 
 They hushed their very hearts, that saw its horror and 
 
 amaze 
 They might have chained him, as before that stony form 
 
 he stood; 
 For the power was stricken from his arm, and from his 
 
 lip the blood. 
 
 7. "Father!" at length he murmured low, and wept like 
 
 childhood then: 
 Talk not of grief till thou hast seen the tears of warlike 
 
 men! 
 He thought on all his glorious hopes, and all his young 
 
 renown 
 He flung his falchion from his side, and in the dust sat 
 
 down. 
 
 8. Then covering with his steel-gloved hands his 
 
 darkly mournful brow, 
 "No more, there is no more," he said, "to lift the sword 
 
 for, now; 
 My king is false my hope betrayed! My father 0! the 
 
 worth, 
 The glory, and the loveliness, are passed away from earth! 
 
 9. "I thought to stand where banners waved, my sire, 
 beside thee, yet! 
 
 I would that there our kindred blood on Spain's free soil 
 had met! 
 
 [85] 
 
Thou wouldst have known my spirit, then for thee my 
 
 fields were won; 
 And thou hast perished in thy chains, as though thou 
 
 hadst no son!" 
 
 10. Then, starting from the ground once more, he 
 seized the monarch's rein, 
 
 Amid the pale and wildered looks of all the courtier train; 
 
 And, with a fierce, o'ermastering grasp, the rearing war- 
 horse led, 
 
 And sternly set them face to face the king before the 
 dead. 
 
 11. "Came I not forth; upon thy pledge, my father's 
 hand to kiss? 
 
 Be still, and gaze thou on, false king! and tell me what 
 
 is this? 
 The voice, the glance, the heart I sought give answer, 
 
 where are they? 
 If thou wouldst clear thy perjured soul, send life through 
 
 this cold clay! 
 
 12. "Into these glassy eyes put light be still! keep 
 down thine ire! 
 
 Bid these white lips a blessing speak this earth is not 
 
 my sire 
 Give me back him for whom I strove, for w r hom my blood 
 
 was shed! 
 Thou canst not? and a king!) his dust be mountains on 
 
 thy head!" 
 
 13. He loosed the steed his slack hand fell upon the 
 silent face 
 
 He cast one long, deep, troubled look, then turned from 
 
 that sad place; 
 His hope was crushed, his after fate untold in martial 
 
 strain 
 His banner led the spears no more, amid the hills of 
 
 Spain. 
 
 Mrs. Hemans. 
 
 During my stay in Melbourne the gold fever was at its 
 height. There were lucky and unlucky miners in Aus- 
 tralia, as there have been everywhere else in the world's 
 gold-fields. Many found great nuggets that contained for- 
 tunes. while many more found nothing but infinite hard- 
 ship and heartache. I remember one man who could not 
 even find work and was starving. One day he went to 
 the owners of a mine or shaft that had been worked out, 
 and asked permission to go down to try his luck. They 
 consented. The desperate fellow took his pick and de- 
 scended to the bottom of the shaft. In a few minutes he 
 had found the biggest nugget ever taken out of the earth's 
 
 [86] 
 
treasure-house. Two hundred feet below the surface of 
 the ground he had driven his pick, by merest chance, 
 against a huge lump of gold. 
 
 He came up out of the shaft, knowing that he had found 
 a pretty big sum, but did not realize how much it was. 
 The nugget w T as brought up and weighed. It had exactly 
 the weight of a barrel of flour, one hundred and ninty-six 
 pounds. That morning he had been a beggar, and now he 
 was the richest miner in the fields. 
 
 "Is all that mine?" he asked, as if the words were 
 as heavy as the big nugget and as valuable. They told 
 him it was. 
 
 "It doesn't belong to the government?" 
 
 "No." 
 
 "All mine," he said in a whisper, and dropped to the 
 floor dead. 
 
 No one knew him, not even his -name. He was a mere 
 restless wanderer upon the face of the earth, and had 
 broken his heart over the biggest nugget, the richest piece 
 of gold on the globe. George Francis Train. 
 
 [87J 
 
LESSON XXV 
 
 Study this scene from Shakespeare's Julius Caesar in 
 which the magistrates, Flavius and Marullus, who are en- 
 vious of Caesar, rebuke the crowd that has come out to see 
 Caesar's triumphal parade. 
 
 Mark in the margin all the Feet Attitudes in this se- 
 lection. You can find here at least one example of each 
 kind. 
 
 Flavius. Hence! home, you idle creatures, get you home: 
 Is this a holiday? what! know you not, 
 Being mechanical, you ought not walk 
 Upon a laboring day without the sign 
 Of your profession? Speak, what trade art thou? 
 
 First Commoner. Why, sir, a carpenter. 
 
 Marullus. Where is thy leather apron and thy rule? 
 What dost thou with thy best apparel on? 
 You, sir. what trade are you? 
 
 Sec. Com. Truly, sir, in respect of a fine workman, I am 
 but, as you would say, a cobbler. 
 
 Mar. But what trade art thou? answer me directly. 
 
 Sec. Com. A trade, sir, I hope, I may use with a safe 
 conscience: -which is, indeed, sir, a mender of bad soles. 
 
 Mar. What trade, thou knave? thou naughty knave, 
 what trade? 
 
 Sec. Com. Nay, I beseech you, sir, be not out with me: 
 yet. if you be out, sir, I can mend you. 
 
 Mar. What mean'st thou by that? mend me, thou saucy 
 fellow! 20 
 
 Sec. Com. Why, sir, cobble you. 
 
 Flav. Thou art a cobbler, art thou? 
 
 Sec. Com. Truly, sir, all that I live by is with the awl: I 
 meddle with no tradesman's matters, nor women's mat- 
 ters, but with awl. I am, indeed, sir. a surgeon to old 
 shoes; when they are in erreat danger, I recover them. As 
 proper men as ever trod upon neat's leather have gone 
 upon my handiwork. 
 
 Flav. But wherefore art not in thy shop today? 
 Why dost thou lead these men about the streets? 30 
 
 Sec. Com. Truly, sir, to wear out their shoes, to get my- 
 self into more work. But, indeed, sir, we make holiday 
 to see Caesa-r and to rejoice in his triumph. 
 
 Mar. Wherefore rejoice? What conquest brings he 
 
 home? 
 
 What tributaries follow him to Rome 
 To grace in captive bonds his chariot-wheels? 
 
 [88] 
 
You blocks, you stones, you worse than senseless things! 
 
 you hard hearts, you cruel men of Rome, 
 
 Knew you not Pompey? Many a time and oft 
 
 Have you climb'd up to walls and battlements, 40 
 
 To towers and windows, yea, to chimney-tops, 
 
 Your infants in your arms, and there have sat 
 
 The live-long day, with patient expectation, 
 
 To see great Pompey pass the streets of Rome: 
 
 And when you saw his chariot but appear, 
 
 Have you not made an universal shout, 
 
 That Tiber trembled underneath her banks, 
 
 To hear the replication of your sounds 
 
 Made in her concave shores? 
 
 And do you now put on your best attire? 
 
 And da you now cull out a holiday? 
 
 And do you now strew flowers in his way 
 
 That comes in triumph over Pompey's blood? 
 
 Be gone ! 
 
 Run to your houses, fall upon your knees, 
 
 Pray to the gods to intermit the plague 
 
 That needs must light on this ingratitude. 
 
 Flav. Go, go, good countrymen, and, for this fault, 
 Assemble all the poor men of your sort; 
 Draw them to Tiber banks, and weep your tears 60 
 
 Into the channel, till the lowest stream 
 Do kiss the most exalted shores of all. 
 
 (Exeunt all the Commoners. 
 See, whe'er their basest metal be not mov'd; 
 They vanish tongue-tied in their guiltiness. 
 Go you down that way towards the Capitol; 
 This way will I: disrobe the images, 
 If you do find them deck'd with ceremony. 
 
 Mar. May we do so? 
 You know it is the feast of Lupercal. 
 
 Flav. It is no matter: let no images 
 Be hung with Caesar's trophies. I'll about, 
 And drive away the vulgar from the streets: 
 So do you too, where you perceive them thick. 
 These growing feathers pluck'd from Caesar's wing 
 Will make him fly an ordinary pitch, 
 Who else would spar above the view of men 
 And keep us all in servile fearfulness. 
 
 mechanical being mechanics or laborers. What were the signs of 
 their profession? 
 
 cobbler another play on words, a cobbler was a rough workman at 
 any trade, a man that makes a botch of a job. 
 
 out a play on words, out of patience and out at toes. 
 
 neat cattle. 
 
 to "go upon" a man's bond Is to endorse It, to guarantee that he Is 
 trustworthy. 
 
 Pompey had just been conquered. 
 
 [89] 
 
Tiber the river that runs through Rome, 
 whe'er contraction for "whether." 
 
 Ceremony adorned with bunting-, etc., ready for the very cere, 
 monious parade that was to occur next day. 
 vulgar the common people, 
 else otherwise. 
 
 EXERCISES 
 
 Describe exercises 28-30 clearly, warn against probable 
 errors, and then lead the class in practise. 
 
 [90] 
 
LESSON XXVI 
 
 1. Mark in the margin the Feet Attitudes in this se- 
 lection: 
 
 2. Give them with vigor. 
 
 CHRISTIAN'S FIGHT WITH APOLLYON. 
 
 But now, in this Valley of Humiliation, poor Christian 
 was hard put to it; for he had gone but a little way before 
 he espied a foul fiend coming over the field to meet him; 
 his name is Apollyon. Now the monster was hideous to 
 behold: he was clothed with scales like a fish (and they 
 are his pride) ; he had wings like a dragon, feet like a 
 bear, and out of his belly came fire and smoke; and his 
 mouth was as the mouth of a lion. When he was come up 
 to Christian, he beheld him with a disdainful countenance, 
 and thus began to question with him. 
 
 Apol. Whence come you? and whither are you bound? 
 
 Chr. I am come from the City of Destruction, which 
 is the place of all evil, and am going to the city of Zion. 
 
 Apol. By this I perceive thou art one of my subjects; 
 for all that country is mine, and I am prince and god of 
 it. How is it then that thou hast run away from thy 
 king? Were it not that I hope thou mayest do me more 
 service, I would strike thee now at one blow to the ground. 
 
 Chr. I was born indeed in your dominions, but your 
 service was hard, and your wages such as a man could 
 not live on; for the wages of sin is death. Therefore when 
 I was come to years, I did as other considerate persons do, 
 look out, if perhaps I might mend myself. [In the dia- 
 logue that ensues, Apollyon tries by promises and threats 
 to reclaim Christian to his service; but Christian steadily 
 maintains his allegiance to the Prince whom he now fol- 
 lows.] 
 
 Apol. Then Apollyon broke out into grievous rage, 
 saying, I am an enemy to this Prince; I hate his person 
 his laws, and people; I am come out on purpose to with- 
 stand thee. 
 
 Chr. Apollyon, beware what you do, for I am in the 
 King's highway, the way of holiness; therefore take heed 
 to yourself. 
 
 Apol. Then Apollyon straddled quite over the whole 
 breadth of the way and said, I am void of fear in this mat- 
 ter. Prepare thyself to die; for I swear by my infernal 
 den that thou shalt go no further; here will I spill thy 
 soul. 
 
 And with that he threw a flaming dart at his breast; 
 [91] 
 
but Christian had a shield in his hand, with which he 
 caught it, and so prevented the danger of that. 
 
 Then did Christian draw, for he saw 'twas time to bestir 
 him; and Apollyon as fast made at him, throwing darts as 
 thick as hail; by the which notwithstanding all that 
 Christian could do to avoid it, Apollyon wounded him in 
 his head, his hand, and foot. This made Christian give a 
 little back; Apollyon therefore followed his work amain, and 
 Christian again took courage, and resisted as manfully as he 
 could. This sore combat lasted for above half a day, even 
 till Christian was almost quite spent; for you must know 
 that Christian, by reason of his wounds, must needs grow 
 weaker and weaker. 
 
 Then Apollyon, espying his opportunity, began to 
 gather up close to Christian, and wrestling with him, gave 
 him a dreadful fall; and with that Christian's sword flew 
 out of his hand. Then said Apollyon, I am sure of thee 
 now; and with that he had almost pressed him to death, 
 so that Christian began to despair of life. But as God 
 would have it, while Apollyon was fetching of his last 
 blow, thereby to make a full end of this good man, Chris- 
 tian nimbly reached out his hand for his sword, and 
 caught it. saying. Rejoice not against me, mine enemy! 
 when I fall I shall arise; and with that gave him a deadly 
 thrust, which' made him give back,'.as one that had received 
 his mortal wound. Christian perceiving that, made at 
 him again saying, Nay, in all these things, we are more 
 than conquerors, through him that loved us. And with 
 that Apollyon spread forth his dragon's wings, and soed 
 him away, that Christian for a season saw him no more. 
 
 John Bunyan. 
 
 EXERCISES 
 
 Practice exercises 29-30. After getting the jaw relaxed, 
 take 
 
 31. a. Run up the scale, saying, "fo-fa-fa" on each of the 
 eight degrees. 
 
 b. Run down the scale in the same way. 
 
 c. Run up and down the scale with one breath. 
 
 [92] 
 
SIGNIFICANCE OF THE HAND IN SPEAKING 
 
SIGNIFICANCE OF THE HAND IN SPEAKING 
 
LESSON XXVII 
 
 Gesture, we have seen, may be conveniently divided for 
 study into three parts: Bearing, Gesticulation, and Facial 
 expression. 
 
 The first of these, Bearing, you have been studying 
 under the Feet Attitudes. It is through Bearing we ex- 
 press the general condition, the fundamental attitude of the 
 mind. Gesticulation (the second division), expresses the 
 particular thoughts, feelings, and impulses. These must 
 always be in harmony with the general attitude. In these 
 lines about the launching of a ship: 
 
 Then the Master, 
 
 With a gesture of command 
 
 Waved his hand. 
 
 And at the word 
 
 Loud and sudden there was heard, 
 All around them and below, 
 The sound of hammers, blow on blow, 
 Knocking away the shores and spurs. 
 
 Give the first three lines so as to convey the idea with 
 the voice alone, that the Master made 
 
 A quick gesture. 
 
 A slow gesture. 
 
 A dignified gesture. 
 
 A languid gesture. 
 
 A waving of the hand from the wrist. 
 
 A gesture of triumph or exultation. 
 
 Read the last five lines so as to give the idea that tack 
 hammers were used. Now let it be carpenters' hammers. 
 Now sledge hammers swung with both hands. 
 
 Do you notice that in each case the general bearing, the 
 gesticulation, and the voice, all express the same attitude 
 of mind? 
 
 Although in this course we cannot make a thorough 
 study of Gesticulation, yet a glimpse of the subject is worth 
 while; and in a few lessons you may get a start towards a 
 true idea of the function of the hand and arm in gesture. 
 I make no attempt here to give any philosophical analysis 
 of gesture; but will try to describe the fundamental atti- 
 tudes and actions, and point out their significance. For 
 
 [93] 
 
gesticulations have a definite meaning, and their meaning 
 and purpose are more important than their gracefulness. 
 
 Indicate. (2a) You may point out a visible object as: 
 
 Do you see yon star? 
 Or you may indicate a moving object. 
 
 He winds up the ascent of the stairs. 
 
 The thing pointed out may be mental instead of physi- 
 cal, some point you wish your hearers to notice (2b). 
 
 Ah, gentlemen that was a dreadful mistake. 
 
 Or the gesture may be ideal, indicating the nobility or 
 grandeur of the object named (2c). 
 
 I charge thee, Cromwell, fling away ambition, 
 By that sin foil the angels. 
 
 If your point is the importance of this advice, (as if 
 you said," this one thing I want you to remember Crom- 
 well) there will be mental pointing (2b) on the words "I 
 charge thee." If you point out that "even holy angels find 
 this dangerous," it is a gesture of the ideal, and the point- 
 ing hand will rise above the head. In such case the fore 
 finger is straight and the others relaxed, the palm is al- 
 ways down. 
 
 Note 1. When refering to visible objects, or to objects im- 
 agined as visible, the eye may accompany the hand: but 
 when the reference is mental or ideal the eye never looks 
 towards the hand. 
 
 Note 2. When you refer to an abstract thing, some con- 
 ception of the mind, the hand generally moves somewhere 
 between the height of the shoulder and the level of the 
 waist; gesticulations that refer to ideal thoughts, hopes, or 
 feelings, are made above the shoulder; and those referring 
 to contemptible or unworthy things are made below the 
 waist level. But gesticulations referring to physical ob- 
 jects depend, of course, on the location of the object. 
 
 Note 3. In Presentation the gesticulation will naturally 
 be open, revealing, easy, unhurried; since the speaker is 
 trying to open and spread out the matter before his hear- 
 ers. In Discrimination the texture of the hand will be 
 firmer, a-nd there will be more "edge" to the gesticula- 
 tion. If the movement of the hand is not quicker than in 
 the preceding, at least there will be more ictus, (a mus- 
 cular tension, more or less slight, when the gesture cul- 
 minates.) Practically all gestures culminate in an ictus, 
 else they would fade away in a weak, indefinite fashion. The 
 
 [94] 
 
more vigorous the gesture, the more noticeable the ictus. 
 In Emotion as the mind becomes more free from restraint, 
 the body, of course, becomes more flexible, and gesticula- 
 tion tends to be larger, and in graceful curves. But when 
 the emotion passes into excitement, the movements are no 
 longer gentle and graceful curves, but angular, even jerky 
 lines. Some speakers habitually stretch their fingers apart; 
 this betrays a mild form of hysteria, instead of serenity of 
 spirit. In Volition the movements are stronger, more di- 
 rect, quicker, and the texture more tense and muscular. 
 
 Reveal, (la, Ib) When you indicate, you point out 
 something, when you reveal you spread out something be- 
 fore your hearers. You would indicate a picture on the 
 wall, you would reveal a whole row of pictures spread 
 out upon the wall. 
 
 All this valley was the playground of my boyhood. 
 Sometimes both hands will be used. 
 
 The circumstances, now clearly in evidence spread 
 out the whole scene before us. 
 
 They tell us we are weak, but when shall be we 
 
 stronger? 
 
 The double reveal with this question practically says: 
 Here is the whole situation, you can see it plainly, do you 
 see any signs of our growing stronger? 
 
 Affirm. When you make a clear-cut and strong affirma- 
 tion of some proposition, the hand rises ([12]) and sweeps 
 down (12) on the prominent word affirmed. The stronger 
 the affirmation, the higher the hand rises, and the farther 
 and quicker and straighter it falls. 
 
 Thou art the man. 
 
 If there were as many devils in Wurms, as there are 
 tiles on the roofs, still would I go. 
 
 A denial does not prevent strong affirming. 
 Sir, \vo are not weak. 
 
 The battle, sir is not to the strong alone, it is to the 
 
 vigilant. 
 
 The hand may give affirm on either "not" or vigilant," 
 scarcely on both of them. Better decline in first clause and 
 affirm on Last. 
 
 [95] 
 
Reject. When you resolutely put an object or an idea 
 away from you, you sweep it away, with the palm toward 
 the object. The stronger the rejection the more vigorous 
 the movement of the hand and arm. When the sense of 
 rejection is very strong both hands may be used. ([11]) 
 Shows the hand preparing to reject. (11) Shows the com- 
 pletion of the movement. 
 
 We have been spurned with contempt from the foot 
 of the throne. 
 
 I will have nothing to do with such a plan. 
 
 Decline. (17) When you put an object or an idea away 
 gently or carelessly, the hand sweeps outward, with the 
 palm towards you, the hand less strongly muscularized 
 than in reject. 
 
 I thank you, but I will not take your seat. 
 
 I do not deny your good intention. 
 
 There, there, that'll do, don't bother me any more. 
 
 Acquire. (7) This suggests gathering, and is made by 
 one hand or by two. 
 
 All this is my share. 
 
 And this wealth, painfully gathered by twenty years 
 of sacrifice, has been wantonly wasted. 
 
 Surrender. (5) In the idea of giving up, the hand (one 
 jr both) sweeps downward, with the palm outwards until 
 it falls empty in complete surrender, as in the last clause of 
 the proceeding example. 
 
 Take your old doll. I wouldn't have it anyhow. 
 
 Ay, upon my knees, amid the dust and blood of the 
 arena, I begged that poor boon. 
 
 Here the speaker gives up his pride, or self-respect. 
 
 And now I am come, with this lost love of mine, 
 To lead but one measure, drink one cup of wine. 
 
 The gesticulation of surrender on "lost love" says that 
 he has given her up. 
 
 Retain. (4) With this idea, the hand instinctively 
 clenches; the arm may be in almost any position. 
 
 Millions for defense, but not one cent for tribute. 
 [96] 
 
The guilty soul cannot keep its secret. It has become 
 his master. 
 
 With the idea of this cruel master the hand is clenched 
 and the arm raised above the head, as if threatening to 
 grasp a thunderbolt and hurl it. 
 
 The hand of Douglas is his own, (as in figure 4, re- 
 taining his self-respect.) 
 
 [97] 
 
LESSON XXVIII 
 
 Inquire. (16) When the speaker asks a real question, 
 he instinctively raises his hand (sometimes both hands) 
 and his eyebrows. The ictus will be in the fingers, not in 
 the palm. 
 
 Listen, I implore you to the voice of reason. 
 I ask, sir, what means this martial array. 
 Chastisement! (See also Feet Attitude 4.) 
 
 Assail. (9) This is a blow with the fist, or a vigorous 
 pushing out with the open palm of the hand. 
 
 Rome . . . thou hast taught him to drive the 
 sword through plaited mail. 
 
 And he shall pay thee back, until the yellow Tiber 
 is red as frothing wine. 
 
 Uphold. When you are stating some great truth, 
 some fundamental and far reaching principle, or when you 
 \\ant to express a sense of great solidity, the hand (usually 
 both hands) stretches out and with firm palm holds it up. 
 (See also Feet attitude 3.) 
 
 Three millions of people armed in the holy cause of 
 liberty, . . . are invincible by any force which our 
 enemy can send against us. 
 
 Our country will stand forever unbroke'n, upon the 
 solid foundation of freedom to all. 
 
 (Attitude of stedfastness.) 
 
 Liberty and Union now and forever one and insep- 
 arable. 
 
 Caress. (14) The feeling of gentleness expresses itself 
 by a stretching of the hand, especially the palm and the 
 middle finger. This "breathing" of the hand (palm down 
 always) is accompanied by a stroking motion, as when one 
 strokes a child's head or a kitten. 
 
 My mother parting the hair from off my forehead, 
 kissed my throbbing temples. 
 
 The beams of the moon resting on the gray locks 
 of his aged temple. 
 
 [98] 
 
One day after the sheep were folded, and we were 
 all seated beneath the myrtle which shaded our cottage. 
 
 Conceal. (6) In this the whole body is stealthy, the 
 hand creeps in front of the body, as if to shield something 
 from sight. 
 
 Hark! did somebody rustle those leaves? 
 
 The assassin enters through the window .... with 
 noiseless foot he paces the lonely hall, half lighted by 
 the moon. 
 
 Detect. (8) Physically one feels the quality of paper or 
 cloth by rubbing it between the thumb and the tips of the 
 first and second fingers. 
 
 There seems to be some sand or grit in this sugar. 
 
 In mental detecting the thumb is held in a similar 
 position but without rubbing and without drawing the 
 eyes toward the hand. 
 
 It sounds plausible, gentlemen, but if you examine 
 the statement more carefully, you will see that he has 
 overlooked one important fact. 
 
 Define. (15) Mental indicating is the pointing out of 
 some fact that might be overlooked. Detecting is picking 
 out and separating some fact that is involved or entangled 
 with other ideas. Defining is cutting off something at its 
 limits. It may be physical but is more often mental. The 
 edge of the hand cuts, as it were, between this and that. 
 
 Man marks the earth with ruin; his control stops 
 with the shore. 
 
 Let us be sacrificers, but not butchers, Caius. 
 
 The secret which the murderer possesses, soon comes 
 to possess him. 
 
 Mould. (13) When you think of shaping something like 
 dough or clay; or of strongly influencing some person and 
 moulding him to your own will, the hand moves with a 
 slight but subtle shaping movement, which has a tinge 
 of stealthiness. 
 
 He moves the lock by soft and continued pressure. 
 
 Leave him to me, I'll manage him. 
 [99] 
 
Accept. The hand signifies the mind's attitude of ac- 
 ceptance by extending itself towards the giver, palm up. 
 
 (3a). 
 
 Please lend me your knife. 
 
 Ye call me chief (the gesture says I accept that 
 place) . If there be three in all your number that dare 
 face me on the bloody safads, let them come on. 
 
 Eager entreaty or prayer stretches both hands out ready 
 to accept the expected gift. (3b). 
 
 My gracious lord, you will not kill my boy. 
 
 Protect. (10) This conception is expressed by the up- 
 raised arm and outstretched hand, palm down. The po- 
 liceman at the dangerous street crossing uses this gesticu- 
 lation to protect the people from being trampled by the 
 horses. The minister uses it (sometimes both hands) to 
 protect his people from evil by his blessing. 
 
 He raises the aged arm . . . and replaces it again 
 over the wounds of the poniard [his hope is to "protect" 
 the gash from observation.] 
 
 Antony. Be patient till the last. [The protection is 
 against interruption.] 
 
 Woodman spare that tree. 
 
 Under its benign influences, these great interests 
 immediately awoke, as from the dead. 
 
 Mark twenty gesticulations in Webster's speech, page 
 70. 
 
 Mark eight gesticulations in his paragraph on page 76. 
 
 Most of the selections in this book furnish good ex- 
 amples for gesticulation, and several lessons can profitably 
 be spent on this work. 
 
 You will frequently notice gesticulations that do not 
 seem to be included in this list. After you have mastered 
 these, however, you will probably be able to recognize any 
 strange gesticulation as a combination of some of these. 
 For instance a speaker may give affirm (the down coming 
 hand) combined with indicate (the pointing finger) be- 
 cause he wishes to call your attention to some particular 
 aspect while he affirms. Or he may combine affirm with 
 
 [100] 
 
the closed fist of assail as if -he wovild:har/mie?'R'iiit^you. 
 Not a very courteous gesture you see, though much used 
 by lawyer politicians, who have acquired it from abusing 
 juries. It is sometimes interesting, when you must listen 
 to a dull speech to note the speaker's most frequent ges- 
 tures and to gather therefrom his character, disposition, 
 and habits of thinking. 
 
 [101] 
 
LESSON XXIX 
 
 We have seen that thought or speech is naturally divid- 
 ed into four classes, according to the speaker's mood when 
 it was uttered, Presentation, Discrimination, Emotion, and 
 Volition. We have learned to analyze a passage and identi- 
 fy the parts of it belonging to each of these moods. The 
 next problem is how to express in speech these different 
 moods so that our hearers also can identify and under- 
 stand them. 
 
 The main thing in Presentation is Time. In the pre- 
 sentation of facts to the hearer you should speak no faster 
 than he can take them in, or the result will be a blur. So 
 in presenting thoughts that are new to the hearer you 
 naturally speak rather slowly. 
 
 A certain man had two sons; and the younger of 
 them said to his father, Father, give me the portion of 
 substance that falleth to me. And he divided unto them 
 his living. 
 
 John Maynard was well known in the lake district 
 as a God-fearing, honest, and intelligent pilot. He was 
 pilot on a steamboat from Detroit to Buffalo. 
 
 When facts and ideas are very important, even if they 
 are not new to the hearer, you speak slowly in order to 
 give your hearer a chance to take in fully all their sig- 
 nificance. 
 
 I profess, sir, in my career hitherto, to have kept steadily 
 in view, the prosperity and honor of the whole country, 
 and the preservation of our federal Union. It is to that 
 Union we owe our safety at home, and our consideration 
 and dignity abroad. It is to that Union that we are chiefly 
 indebted for whatever makes us most proud of our country. 
 That Union we reached, only by the discipline of our vir- 
 tues, in the severe school of adversity. It had its origin, 
 in the necessities of disordered finance, prostrate commerce, 
 and ruined credit. Under its benign influences, these 
 great interests immediately awoke, as from the dead, and 
 sprang forth with newness of life. Every year of its dur- 
 ation has teemed with fresh proofs of its utility, and its 
 blessings; and although our territory has stretched out 
 wider and wider, and our population spread farther and 
 farther, they have not outrun its protection, or its benefits. 
 
 [102] 
 
It has been to us all a copious fountain of national, social, 
 and personal happiness. Webster. ,. 
 
 We live in deeds, not years; in thoughts, not breaths; 
 In feelings, not in figures on a dial. 
 
 We should count time by heart-throbs. He most lives 
 Who thinks most, feels the noblest, acts the best. 
 
 Bailey's Festus. 
 
 Deep thoughts, or thoughts difficult to follow, must be 
 uttered slowly for the same reason. 
 
 Perfect taste is the faculty of receiving the greatest 
 possible pleasure from those material sources which are 
 attractive to our moral nature in its purity and perfec- 
 tion. He who receives little pleasure from these 
 sources, wants taste; he who receives pleasure from any 
 other sources, has false or bad taste. Ruskin. 
 
 Sad thoughts are uttered slowly because sorrow takes 
 away one's vivacity. 
 
 Break, break, break, 
 
 On thy cold gray stones, Sea! 
 And I would that my tongue could utter 
 The thoughts that arise in me. 
 
 Gentle and tender thoughts are spoken slowly because 
 we linger upon what we love. Brutus says to his little 
 page 
 
 If I do live, I will be good to thee. 
 
 On the other hand, since the mind can comprehend 
 what is familiar more easily, and therefore more quickly, 
 than it can take in something entirely new, thoughts al- 
 ready in mind, even although important in themselves, are 
 spoken rather rapidly, simply because they are so familiar 
 that the mind readily grasps them. These same thoughts 
 when first presented to the hearer were doubtless spoken 
 slowly because then they were new and unfamiliar. Take, 
 for example a sentence from Wendell Phillips' oration on 
 O'Gonnell: 
 
 And then, besides his unimpeachable character, he 
 had what is half the power of a popular orator, a 
 majestic presence. 
 
 Now, an unimpeachable character is a very important 
 thing, more important than a majestic presence, but 
 Wendell Phillips has already discussed that subject and is 
 
 [103] 
 
turning away from it to the other topic. The first part of 
 the sentence, therefore, he will speak faster (even though 
 in itself it is more important than the rest) and as he ap- 
 proaches the new topic the rate becomes slower. 
 
 Things that have not been mentioned before may be so 
 obvious and easy to grasp that they can be spoken rapidly; 
 as the showman's second sentence below: 
 
 "Gentlemen and ladies, 1 ' said the showman, "here 
 you have a magnificent painting of Daniel in the Lion's 
 Den. Daniel can easily be distinguished from the lions 
 by the green cotton umbrella under his arm. 1 ' 
 
 For the same reason trivial or unimportant matters are 
 spoken more rapidly. 
 
 In excitement the rate is faster, and also in merriment 
 
 or gladness. 
 
 Nonsense: you don't impose upon me; you can't be 
 asleep with such a shower as that! Do you hear it, I 
 say? Oh, you do hear it! Well, that's a pretty flood, 
 I think, to last for six weeks, and no stirring all the 
 time out of the house. Pooh! don't think me a fool, Mr. 
 Caudle; don't insult me! he return the umbrella! Any- 
 body would think you were born yesterday. As if any- 
 body ever did return an umbrella! 
 
 Old Fezzwig laid down his pen, and looked up at the 
 clock, which pointed to the hour of seven. He rubbed 
 his hands; adjusted his capacious waistcoat; laughed 
 all over himself, from his shoes to his organ of benevo- 
 lence; and called out in a comfortable, oily, rich, fat, 
 jovial voice: "Yo ho, there Ebenezer! Dick! Yo ho, my 
 boys! No more work tonight. Christmas eve, Dick. 
 Christmas Ebenezer! 
 
 REVIEW QUESTIONS 
 
 1. If you write out the separate things you wish to 
 present to your hearers in the first example, it will 
 perhaps be something like this: 
 
 A man had two sons. 
 One of them made a request. 
 He was the younger of the two. 
 His request was about property. 
 He asked for his share of it. 
 The father gave it to him. 
 
 [104] 
 
2. Write out the new things you wish to present in the 
 
 second example. 
 
 3. What are the important things in the fourth? 
 
 4. Write an expansive paraphrase of the fifth example 
 
 so as to remove the difficulties. 
 
 5. Paraphrase the sixth example so as to show fully the 
 
 author's thoughts and feelings. Where was he? 
 Why was he there? 
 
 6. Write out the thoughts that were probably in the 
 
 mind of Brutus when he spoke these words to his 
 boy. 
 
 7. Now read aloud the examples given in this lesson, 
 
 giving time enough to bring out clearly any thought 
 that is new, or important, or exact and diffcult, or 
 sad, or tender; but do not drag nor drawl. 
 
 EXERCISES 
 
 When you strike a slender rod upon a solid surface it 
 rebounds and makes two or three light taps. In a similar 
 way accent the first syllable, and let the other syllables 
 follow as a sort of rebound. 
 
 Practice exercises 29-31, then follow with 
 32. a. Run up the scale saying "fo-fa-fa-fa" on each 
 degree. 
 
 b. Run down the scale in the same way. 
 
 c. Run up and down the scale in one breath. 
 
 [105J 
 
LESSON XXX 
 
 a. Mark in the margin whether the passage is Fast, 
 
 Medium, or Slow. 
 
 b. Tell, in writing, why each is as you mark it. 
 
 c. Are all parts of each selection equally fast or 
 
 equally slow? 
 
 d. Read them aloud. 
 
 1. We hold these truths to be self-evident, that all men 
 are created equal; that they are endowed by their Creator 
 with certain unalienable rights; that among these are life, 
 liberty, and the pursuit of happiness. That, to secure these 
 rights, governments are instituted among men, deriving 
 their just powers from the consent of the governed; that 
 whenever any form of government becomes destructive of 
 these ends, it is the right of the people to alter or to abolish 
 it, and to institute a new government, laying its foundation 
 on such principles, and organizing its powers in such form, 
 as to them shall seem most likely to effect their safety and 
 happiness. The Declaration of Independence. 
 
 2. Now as they went on their way, he entered into a 
 certain village and a certain woman named Martha re- 
 ceived him into her house. And she had a sister called Mary, 
 who also sat at the Lord's feet, and heard his word. But 
 Martha was distracted about much serving; and she came 
 up to him and said, Lord, dost thou not care that my sister 
 did loavo mo to serve alone? bid her therefore, that she bolp 
 me. But the Lord answered and said unto her, Martha, 
 Martha, thon art anxious and troubled about many things. 
 Luke 10:38-41. 
 
 3. The curfew tolls the knell of parting day; 
 The lowing herd winds slowly o'er the lea; 
 The plowman homeward plods his weary way, 
 And leaves the world to darkness and to mo. 
 
 4. An old clock that had stood for fifty years in a farm- 
 er's kitchen without giving its owner any cause of com- 
 plaint, early one summer's morning before the family was 
 stirring, suddenly stopped. 
 
 5. Roll on, thou deep and dark blue Ocean roll! 
 Ten thousand fleets sweep over thee in vain; 
 Man marks the earth w r ith ruin his control 
 Stops with the shore; upon the watery plain 
 The wrecks are all thy deed, nor doth remain 
 
 [106] 
 
A shadow of man's ravage, save his own, 
 When for a moment, like a drop of rain, 
 He sinks into thy depths with bubbling groan, 
 Without a grave, unknell'd, uncoffin'd, and unknown. 
 
 Byron. 
 
 6. Against the prisoner at the bar, as an individual, I 
 cannot have the slightest prejudice. I would not do him 
 the smallest injury or injustice. But I do not affect to be 
 indifferent to the discovery, and punishment, of this deep 
 guilt. 
 
 7. Oh, to be in England 
 
 Now that April's there, 
 And whoever wakes in England 
 Sees, some morning unaware, 
 
 Th.-it the lowest boughs and the brush-wood sheaf 
 Round the elm-tree bole are in tiny leaf, 
 While the chaffinch sings on the orchard bough 
 In England now. Browning. 
 
 8. Gently, silently, the love of a great nation 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 
 fair sails, whitening in the morning light; on its restless 
 waves, rolling 1 shoreward to break and die beneath the 
 noonday sun; on the red clouds of eyenine- 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. 
 Lot us believe that in the silence of the receding world ho 
 heard the great waves breaking on a further shore, and felt 
 already upon his wasted brow the breath of the eternal 
 morning. From Elaine's Eulogy on Garfield. 
 
 EXERCISES 
 
 Practice exercises 14, 17, 29, 30, 31, 32. 
 33. a. Run up the scale saying or singing on each degree 
 the syllables: pro-ta-ta-ta-ta-ta-ta-ta-ta 
 
 b. Run down the scale in a similar way. 
 
 c. Run up and down the scale in one breath. 
 
 Note. The main accent is on the first syllable, but slighter 
 accents will fall on the fourth and seventh syllables. This 
 exercise not only shows whether the jaw is flexible, but 
 also demands flexible action of the lips and tongue. 
 
 [107] 
 
LESSON XXXI 
 
 1. Mark the different moods of utterance in the margin. 
 
 (P. D. E. V.) 
 
 2. Mark whether the rate is fast, medium or slow. 
 
 3. Tell the story fully in your own words. 
 
 4. Read it aloud making us see it vividly. 
 
 John Maynard was well known in the lake district as a 
 God-fearing, honest, and intelligent pilot. He was pilot on a 
 steamship from Detroit to Buffalo. One summer afternoon 
 at that time those steamers seldom carried boats smoke 
 was seen ascending from below, and the captain called 
 out: 
 
 "Simpson, go below, and see what the matter is down 
 there." 
 
 Simpson came up with his face pale as ashes, and said, 
 "Captain, the ship is on fire." 
 
 Then "Fire! fire! fire!" on shipboard. 
 
 All hands were called up. Buckets of water were dashed 
 on the fire, but in vain. There were large quantities of 
 rosin and tar on board, and it was found useless to at- 
 tempt to save the ship. The passengers rushed to the pilot 
 and inquired: 
 
 "How far are we from Buffalo?" 
 
 "Seven miles." 
 
 "How long before we can reach there?" 
 
 "Three-quarters of an hour at our present rate of 
 steam." 
 
 "Is there any danger?" 
 
 "Danger, here! See the smoke bursting out! Go for- 
 ward, if you would save your lives." 
 
 Passengers and crew men, women and children - 
 crowded the forward part of the ship. John Maynard 
 stood at the helm. The flames burst forth in a sheet of 
 fire; clouds of smoke arose. The captain cried out through 
 his trumpet, 
 
 "John Maynard!" 
 
 "Ay, ay, sir!" 
 
 "Are you at the helm?" 
 
 "Ay, ay, sir!" 
 
 "How does she head?" 
 
 "South-east by east, sir." 
 
 "Head her south-east and run her on shore," said the 
 captain. 
 
 Nearer, nearer, yet nearer, she approached the shore. 
 Again the captain cried out, 
 
 "John Maynard!" 
 
 [108] 
 
The response came feebly this time, "Ay, ay, sir!" 
 
 "Can you hold on five minutes longer, John?" he said. 
 
 "By God's help, I will." 
 
 The old man's hair was scorched from the scalp, one 
 hand disabled, his knee upon the stanchion, and his teeth 
 set, with his other hand upon the wheel, he stood firm as 
 a rock. He beached the ship; every man, woman, and child 
 was saved as John Maynard dropped, and his spirit took 
 its flight to its God. John B. Gough. 
 
 EXERCISES 
 
 Practice exercises 17, 30, 32, 33. 
 
 34. With a similar flexibility of jaw, accenting the main 
 syllables and letting the others rebound lightly, 
 practice rapidly but distinctly sentences, such as: 
 
 Here's a flat-iron worth its weight in gold; here's a fry- 
 ing-pan artificially flavored with essence of beefsteaks to 
 that degree that you've only got for the rest of your lives 
 to fry bread and dripping in it, and there you are replete 
 with animal food. 
 
 [109] 
 
LESSON XXXII 
 
 Since the aim in speaking Presentative, or prepositional, 
 thought is to set it before the hearer clearly and distinctly, 
 so that he may get it into his mind in an orderly fashion, it 
 is necessary (1) to give time enough for him to grasp the 
 thoughts, and (2) to show him the relative importance ol 
 the various parts by your faster or slower rate of speak- 
 ing tho.se parts. This involves a third necessity, namely, 
 presenting the thoughts to him in proper groups. The mind 
 can take in only a certain amount at one glance. The 
 matter presented to it must, therefore, be broken up into 
 small enough groups. A line printed thus would need to 
 be slowly spelled out and re-grouped before the eye could 
 get the meaning: 
 
 Andthestatelyshipsgoontothehavenunderthehill. 
 
 The Betters must be grouped into separate words, with 
 spaces between, and the words gathered by punctuation 
 into larger groups. Just as the eye must have the printed 
 words separated into groups, so the ear also needs to 
 have the spoken words presented to the mind in groups, 
 measurably distinct from each other, and separated by 
 pauses of shorter or longer duration. 
 
 But pay no attention to pausing, any more than you pay 
 attention to the spaces between words on the printed page. 
 Attention should be focused upon the groups and not up- 
 on the empty pauses that separate the groups. If the 
 student, in speaking, groups the words according to the 
 thought and feeling, the pauses will largely take care 
 of themselves. 
 
 The mind can grasp a large body of thought after it 
 has it fully in possession, but it cannot take in very much 
 at a time. The sentence gives the unit of grammatical 
 structure, but the group gives the unit of attention. The 
 group will be small if the thought is new or difficult, and 
 larger if it is easy, familiar, or unimportant. At first it 
 will be easier for the student to group into larger groups, 
 like paragraphs; later he can analyze it more closely, into 
 small groups. 
 
 [110] 
 
Mark the paragraphs or separate topic-groups in the 
 following: 
 
 Now when Jesus was born in Bethlehem of Judea in 
 the days of Herod the king, behold, wise men from the 
 east came to Jerusalem, saying, Where is he that is born 
 King of the Jews? for we saw his star in the east, and 
 are come to worship him. And when Herod the king 
 heard it, he was troubled, and all Jerusalem with him. 
 And gathering together all the chief priests and scribes 
 of the people, he inquired of them where the Christ 
 should be born. And they said unto him, In Bethlehem of 
 Judea: for thus it is written through the prophet. And 
 thou Bethlehem, land of Judah, art in no wise least among 
 the princes of Judah: for out of thee shall come forth a 
 governor, Who shall be shepherd of my people Israel. Then 
 Herod privily called the wise men, and learned from them 
 exactly what time the star appeared. And he sent them 
 to Bethelhem, and said, Go and search out exactly con- 
 cerning the young child; and when ye have found him, 
 bring me word, that I also may come and worship him. 
 And they, haying heard the king, went their way; and lo, 
 the star, which they saw in the east, went before them, 
 till it came and stood over where the young child was. 
 And when they saw the star they rejoiced with exceed- 
 ing great joy. And they came into the house and saw the 
 young child with Mary his mother; and they fell down 
 and worshipped him; and opening their treasures they 
 offered unto him gifts, gold and frankincense and myrrh. 
 And being warned of God in a dream that they should not 
 return to Herod, they departed into their own country 
 another way. Now when they were departed, behold, an 
 angel of the Lord appeareth to Joseph in a dream, saying, 
 Arise and take the young child and his mother, and flee 
 into Egypt, and be thou there until I tell thee: for Herod 
 will seek the young child to destroy him. And he arose 
 and took the young child and his mother by night, and 
 departed into Egypt; and was there until the death of 
 Herod. Matthew 2:1-15. 
 
 Group the following into sentences. 
 
 And he spake also this parable unto certain 'who trusted 
 in themselves that they were righteous and set all others 
 at naught two men went up into the temple to pray the 
 one a Pharisee and the other a publican the Pharisee 
 stood arid prayed thus with himself God I thank thee that 
 I am not as the rest of men extortioners unjust adulterers 
 or even as this publican I fast twice in the vyeek I give 
 tithes of all that I get but the publican standing afar oflf 
 would not lift up so much as his eyes unto heaven but 
 smote his breast saying God be thou merciful to me a 
 sinner I say unto you this man went down to his house 
 
 [111] 
 
justified rather than the other for every one that exalt- 
 eth himself shall be humbled but he that humbleth him- 
 self shall be exalted. Luke 18:9-14. 
 
 In the following sentences set off the groups by one, 
 two, or three bars, thus 
 
 Johnson || the brother-in-law of Adams | the taitor || 
 came || as soon as he heard | the terrible news. 
 
 David HI so great | was his interest to the case ||| re- 
 turned | to the city || on the first train || that left|| after he 
 had finished | his necessary business. 
 
 I find that the great thing in this world is not so much 
 where we stand, as in what direction we are moving; to 
 reach the port of heaven, we must sail, sometimes with 
 the wind and sometimes against it, but we must sail, 
 and not drift, nor lie at anchor. 
 
 There is a perennial nobleness, and even sacredness in 
 work. Were he never so benighted, forgetful of his high 
 calling, there is always hope in a man that actually and 
 earnestly works. In idleness alone there is perpetual 
 despair. 
 
 The older I grow and I how stand upon the brink of 
 eternity the more comes back to me the sentence in the 
 catechism which I learned when a child, and the fuller 
 and deeper becomes its meaning: "What is the chief end 
 of man? To glorify God, and to enjoy him forever." 
 
 Have a purpose in life, if it is only to kill and divide 
 and sell oxen well, but have a purpose; and having it, 
 throw such strength of mind and muscle Into your work 
 as God has given you. 
 
 EXERCISES 
 
 In many cases the tongue seems to fill the mouth. 
 It is thus very much in the way. The speaker needs to 
 keep the tongue down and the soft palate raised, that he 
 may have as much room as possible for the forming of 
 sounds. 
 35. a. Depress the tongue, making it hollow like a spoon, 
 
 lift uvula and soft palate,- and yawn, 
 b. With the mouth in this condition sing "ah" up 
 the scale. 
 
 [112] 
 
LESSON XXXIII 
 
 1. Study the selection from Blame's speech on Garfleld, 
 
 page 107 until you can see in your imagination 
 everything he suggests. 
 
 2. Separate it into groups as in last lesson. 
 
 3. Read it aloud smoothly, without dropping the voice 
 
 at the end of the groups as if the thought were com- 
 plete. 
 
 EXERCISES 
 
 Distinctness in speaking is very important, but articu- 
 lation should also be easy. 
 
 Labored and noticeable ar-tic-u-la-tion is an ugly man- 
 nerism. 
 
 Practice exercises 30 and 33, then 
 
 36. a. Say these syllables distinctly, without puffing out 
 breath : pa-ba-ma-fa-ta-la-ra-sa. 
 
 b. Say these distinctly but rapidly, on each degree 
 
 of the scale. The main accent is on the first 
 syllable, a slighter accent on the fifth. 
 
 c. Run up and down the scale in one breath. 
 
 [113] 
 
LESSON XXXIV 
 
 None of the following selections are pure types of Pre- 
 sentation, some of them seem to have no passage that is 
 really Presentation. Yet Presentation is as it were the 
 basement of all the other Moods, and there is a ground- 
 work of grouping underlying the moods of Discrimina- 
 tion, Emotion, and Volition. 
 
 Mark the grouping in each of these selections, and by 
 explanatory paraphrases convince the class that your 
 grouping is reasonable. 
 
 U I will not believe anything but what I understandl" 
 said a self-confident young man in a hotel one day. 
 
 "Nor will I," said another. 
 
 "Neither will I," chimed in a third. 
 
 "Gentlemen," said one who sat close by, "do I under- 
 stand you correctly that you will not believe anything 
 you don't understand?" 
 
 "I will not," said one, and so said each one of the trio. 
 
 "Well," said the stranger, "in my ride this morning I 
 saw some geese in a field eating grass; do you believe 
 that?" 
 
 "Certainly," said the three unbelievers. 
 
 "T also saw the pigs eating grass; do you believe that?" 
 
 "Of course," said the three. 
 
 "And I also saw sheep and cows eating grass; do you 
 believe that?" 
 
 "Of course," was again replied. 
 
 "Well, but the grass which they had formerly eaten 
 had, by digestion, turned to feathers on the backs of the 
 geese, to bristles on the backs of the swine, to wool on 
 the sheep, and on the cows had turned to hair; do you be- 
 lieve that, gentlemen?" 
 
 "Certainly," they replied. 
 
 "Yes, you believe it," he rejoined, "but do you under- 
 stand it?" 
 
 The night has a thousand eyes, 
 
 And the day but one; 
 Yet the light of the bright world dies 
 
 With the dying sun. 
 
 The mind has a thousand eyes, 
 
 And the heart but one; 
 Yet the light of a whole life dies 
 When love is done. 
 
 F. W. Bourdillon. 
 [114] 
 
An army officer tells a story that shows courage and 
 quick thinking and knowledge of what to do. 
 
 One of the cleverest things I ever saw was a cowboy 
 stopping a cattle stampede. A herd of about six hundred 
 had broken away pell-mell, with their tails in the air, and 
 were heading straight for a high bluff, where they would 
 tumble into the canon and be killed. 
 
 You know that when a herd gets to going it can't 
 stop. Those in the rear crowd those ahead, and away 
 they go. I wouldn't have given a dollar a head for that 
 herd, but the cowboy spurred up his mustang, galloped 
 around, came in right in front of the herd, cut across 
 their path at a right angle, and then galloped leisurely 
 on the edge of that bluff, halted and looked around at 
 that wild mass of beef coming right toward him. I ex- 
 pected to see him killed and was so excited I could not 
 speak, but he was as cool as a cucumber. 
 
 Well, sir, when the leaders had got within about a 
 quarter of a mile of him I saw them try to slack up, though 
 they could not do it very quickly. But the whole herd 
 seemed to want to stop, and when the cows and steers 
 in the rear got about where the cowboy had cut across 
 their path, I was surprised to see them stop and commence 
 to nibble at the grass. Then the whole herd stopped, 
 wheeled, straggled back and went to fighting for a chance 
 to eat where the rear-guard was. 
 
 You see that cowboy had opened a big bag of salt he 
 had brought out from the ranch to give the cattle and as 
 he was galloping in front of the herd he had scattered 
 the salt across their path. 
 
 A certain shrewd Hebrew merchant, whom we shall 
 call Lejee, built, a few years ago, a huge department store 
 in one of our large cities. It was planned to occupy 
 a whole block. But the corner lot, forty feet square, 
 was owned by an old German \vatohmaker named Weber, 
 who refused to sell it. 
 
 "No, I will not give up my house," he said. *'I bought 
 it when property here was cheap, and I have lived and 
 worked here for fifty-two years. I will not sell it." 
 
 "But," Lejee patiently reasoned, "you virtually gave up 
 business years ago. You make or sell no watches now. 
 Your sons have other pursuits. You don't live in the 
 house, only sit in this office all day long, looking out of 
 the window." 
 
 The office was a small corner room in the second story, 
 with an open fireplace around which were set some old 
 Dutch tiles. A battered walnut desk was fitted into the 
 wall, and before it stood an old chair with a sheepskin 
 cover. 
 
 The old man's face grew red. "You are right," he 
 said. "I don't work here. I have enough to live on with- 
 
 [115] 
 
out work. But I am an old man, and want to live in this 
 room. It is home to me. When my wife and I first came 
 here we were poor. I worked in the shop below, but we 
 lived here. Greta fried the cakes and wurst over that 
 fire; the cradle stood in that corner. Little Jan was born 
 here; his coffin was carried out of that door. Greta is 
 dead for many a long year. But \yhen I sit here and look 
 out of the window, I think she is with me. For thirty 
 years she and I looked out of that window and talked of 
 the changes in the street below." 
 
 Lejee was silenced for the time, but began his argu- 
 ments again the next day, doubling his offer. 
 
 "The lot is worth that to me," he said, "as I own the 
 block, but to nobody else. You are throwing away a large 
 sum which would be a great help to your sons that you 
 may indulge a bit of sentiment. Have you the right to do 
 that?" 
 
 Weber was hard pushed. His boys were struggling on 
 with small means; this money would set them on their 
 feet, would enable them to marry. What right had he to 
 spoil their lives that he might sit and dream of old 
 times. The next day he gave his consent and the sale 
 was made. 
 
 The old man lived in the suburbs; he never came to 
 that part of the town while the building was in progress. 
 When it was finished and the huge department store was 
 thrown open to the public, Lejee one day asked him to 
 come in. He led him through the great crowded sales- 
 rooms, piled one on top of another for nine stories, and 
 then drew him into a narrow passage and flung open a 
 door. 
 
 "There is your little office, just as you left it," he said. 
 "We have built around it, and beside it, and over it, but 
 not a brick in it has been touched. There is your fire with 
 the old tiles and your desk, and your chair was brought 
 back today. It is your office, Mr. Weber, and if you will 
 sit here as long as you live and think of them that are 
 gone, and watch the changes in the street below, I shall 
 feel there is a blessing on the big house, because I have 
 a friend in it." 
 
 [116] 
 
LESSON XXXV 
 
 Study the grouping in this address, and then read it 
 with full and free expression. 
 
 SECOND INAUGURAL ADDRESS 
 
 Fellow Countrymen: At this second appearing to take 
 the oath of the Presidential office, there is less occasion for 
 an extended address thab there was at first. Then a 
 statement, somewhat in detail, of a course to be pursued 
 seemed very fitting, and proper. Now, at the expiration of 
 four years, during which public declarations have been 
 constantly called forth on every point and phase of the 
 great contest which still absorbs the attention and en- 
 grosses the energies of the nation, little that is new could 
 be presented. 
 
 The progress of our arms, upon which all else chiefly 
 depends, is as well known to the public as to myself, and 
 it is, I trust, reasonably satisfactory and encouraging to 
 all. With high hope for the future, no prediction in re- 
 gard to it is ventured. 
 
 On the occasion corresponding to this four years ago, 
 all thoughts were anxiously directed to an impending civil 
 war. All dreaded it, all sought to avoid it. While the in- 
 augural address was being delivered from this place, 
 devoted altogether to saving the Union without war, in- 
 surgent agents were in the city seeking to destroy it with 
 war seeking to dissolve the Union and divide the effects 
 by negotiation. Both parties deprecated war, but one of 
 them would make war rather than let the nation survive, 
 and the other would accept war rather than let it perish, 
 and the war came. One-eighth of the whole population were 
 colored slaves, not distributed generally over the Union, but 
 localized in the southern part of it. These slaves consti- 
 tuted a peculiar and powerful interest. All knew that this 
 interest was somehow the cause of the war. To strengthen, 
 perpetuate, and extend this interest was the object for 
 which the insurgents would rend the Union by war, while 
 the government claimed no right to do more than restrict 
 the territorial enlargement of it. 
 
 Neither party expected for the war the magnitude or 
 the duration which it has already attained. Neither an- 
 ticipated that the cause of the conflict might cease when, 
 or even before the conflict itself should cease. Each look- 
 ed for an easier triumph, and a result less fundamental 
 and astounding. Both read the same Bible and pray to 
 the same God, and each invokes his aid against the other. 
 
 [117] 
 
It may seem strange than any men should dare to ask a 
 just God's assistance in wringing their bread from the 
 sweat of other men's faces, but let us judge not, that we 
 be not judged. The prayer of both could not be answered. 
 That of neither has been answered fully. The Almighty 
 has his own purposes. "Woe unto the world because of 
 offenses, for it must needs be that offenses come, but woe 
 to that man by whom the offense cometh!" If we shall 
 suppose that American slavery is one of those offenses 
 which, in the providence of God, must needs come, but 
 which having continued through His appointed time, He 
 now wills to remove, and that He gives to both North and 
 South this terrible war as the woe due to those by whom 
 the offense came, shall we discern there any departure 
 from these divine attributes which the believers in a living 
 God always ascribe to Him? Fondly do we hope, fervently 
 do we pray, that this mighty scourge of war may speedily 
 pass away'. Yet if God wills that it continue until all the 
 wealth piled by the bondmnn's two hundred and fifty 
 years of unrequited toil shall be sunk, and until every 
 drop of blood drawn with the lash shall be paid by another 
 drawn with the sword, as was said three thousand years 
 ago, so still it must be said, that the judgments of the 
 Lord are true and righteous altogether. 
 
 With malice toward none, with charity for nil, with 
 firmness in the ri.erht as God gives us to see the right, let 
 us finish the work \ye are in, to bind up the nation's 
 wounds, to care for him who shall have borne the battle, 
 and for his widow and his orphans, to do all which may 
 achieve and ehorish a just and a lasting peace among our- 
 selves and with all nations. Abraham Lincoln. 
 
 [118] 
 
LESSON XXXVI 
 
 After working at the last few lessons the student will 
 see that he cannot satisfactorily separate a passage into 
 groups until he has decided which words are most im- 
 portant; which are the key words and which merely fill 
 out the sentence. The key words assert the central 
 thought of the sentence or clause, (the rest could be as- 
 sumed) ; not the central thought from the grammatical 
 point of view, but as it lies in the speaker's mind; the 
 thought, which at that moment, and for those hearers, 
 seems to the speaker most needing attention. The as- 
 sumed part does not need to be asserted; either it has 
 been previously asserted or it is already in mind because 
 familiar and obvious. 
 
 A soft answer turneth away wrath; 
 But a grievous word stirreth up anger. 
 
 In the first line you assert "soft" and "wrath 11 ; in the 
 second line "grievous 11 is asserted because it brings out 
 the contrast with "soft 11 ; but "anger 11 is assumed and not 
 asserted because it is the same idea that has already been 
 given in "wrath 11 ; so that, the asserted word in the second 
 line is "stirreth up." This may be tested by leaving out 
 the word "anger" and putting a pronoun in its place. 
 
 A soft answer turneth away wrath; 
 But a grievous word stirreth it up. 
 
 And when he entered again into Capernaum after some 
 days, it was noised that he was at home. And many were 
 gathered together, so that there was no longer room for 
 them,' no, not even about the door; and he spoke the word 
 unto them. And they come, bringing unto him a man sick 
 of the palsy, borne by four. And when they could not 
 come nigh unto him for the crowd, they uncovered the 
 roof where he was: and when they had broken it up, they 
 let down the bed whereon the sick of the palsy lay. And 
 Jesus seeing their faith saith unto the sick of the palsy, 
 Son, thy sins are forgiven. Mark 2:1-5. 
 
 In line 2 "many" is the word that asserts the central 
 thought. The fact that they gathered about the house may 
 
 [119] 
 
be assumed when we know that his return had been noised 
 around. In the sixth line "sick of the palsy" is the asserted 
 phrase because this is the most noticeable thing about the 
 man; but the next time this phrase occurs it is not as- 
 serted but assumed; we have it in mind already so that 
 it could be omitted and the word "man" used in its place. 
 The third time the phrase is used it is again assumed; it 
 could be omitted and the word "him" used instead. 
 
 In the following sentence from "The Merchant of 
 Venice," when Shylock refers to Jacob's bargain with 
 Laban, Antonio says to his friend: 
 
 Mark you this Bassanio, the devil can quote Scrip- 
 ture for his purpose. 
 
 If we assert "Scripture" and assume "devil," then the 
 latter refers to Shylock. If we asesrt "devil" and assume 
 the quoting, then "devil" refers to Satan. We can tell 
 which meaning a speaker has in mind by noting what h 
 asserts and what he assumes. 
 
 In reading aloud or speaking, the word that asserts the 
 prominent idea is spoken with a falling inflection, but 
 there is no pause after it, the voice goes downward and 
 onward. It is convenient and suggestive therefore to mark 
 the assertive work by a line sweeping down through it 
 and continuing onward. 
 
 I t^ld him my name or I told him njry name. 
 
 Note: This term "assertion" or "assertive word" must 
 not be confused with affirmation; the latter is simply a 
 statement of fact, and may use any form of inflection. As- 
 sertion is the purpose to point out with the voice the 
 significance of certain things that the structure has not 
 made prominent or plain enough. Many people call this 
 the emphatic word, but that is not the best term for it. 
 
 Point out and mark the assertive words in the following 
 examples. 
 
 1. Then came to Him the disciples of John, saying, Why 
 do we and the Pharisees fast oft, but thy disciples fast not? 
 And Jesus said unto them, Can the companions of the 
 bridegroom mourn, as long as the bridegroom is with 
 them? But the days will come, when the bridegroom shall 
 be taken away from them, and them they will fast. 
 
 Mark 9:14-15. 
 [120] 
 
2. Great in life, he was surpassingly great in death. 
 
 3. And the Lord said unto him, Loose the shoes from 
 thy feet: for the place whereon thou standest is holy 
 ground. Acts 7:33. 
 
 4. Cassius. Tell us the manner of it gentle Gasca. 
 Casca. I can as well be hanged as tell the manner of it. 
 
 5. Roll on, thou deep and dark and blue Ocean roll! 
 Ten thousand fleets sweep over thee in vain; 
 Man marks the earth with ruin his control 
 Stops with the shore; upon the watery plain 
 The wrecks are all thy deep, nor doth remain 
 
 A shadow of man's ravage, save his own, 
 When, for a moment, like a drop of rain, 
 He sinks into thy depths with bubbling groan, 
 Without a grave, unknell'd, uncoffin'd, and unknown. 
 
 Byron. 
 
 6. Ye have heard that it was said, Thou shalt love thy 
 neighbor, and hate thrne enemy: but I say unto you, Love 
 your enemies and pray for them that persecute you. 
 
 Matt. 5:43-44. 
 
 7. Breathes there the man, with soul so dead, 
 Who never to himself hath said, 
 
 "This is my own, my native land!" 
 
 Whose heart hath ne'er within him burned, 
 
 As home his footsteps he hath turned, 
 
 From wandering on a foreign strand! 
 
 If such there breathe, go, mark him well; 
 
 For him no Minstrel raptures swell; 
 
 High though his titles, proud his name, 
 
 Boundless his wealth, as wish can claim; 
 
 Despite those titles, power and pelf, 
 
 The wretch, concentered all in self, 
 
 Living, shall forfeit fair renown, 
 
 And doubly dying, shall go down 
 
 To the vile dust, from whence he sprung, 
 
 Unwept, unhonored, and unsung. 
 
 Sir Walter Scott. 
 
 8. A fool's vexation is openly known 
 But a prudent man concealeth shame. 
 
 Proverbs 12:16. 
 
 9. He that tilleth his land shall have plenty of bread. 
 
 Proverbs 12:11. 
 EXERCISES 
 
 Many people when speaking contract the muscles of the 
 neck, and this strains the throat and prevents the free play 
 
 [121] 
 
of the vocal organs. Learn to keep the throat relaxed. Let 
 the organs act promptly and then immediately relax again. 
 
 Practice exercises 24, 26, 29. 
 
 37. a. Shake larynx by moving the back of the tongue 
 up and down. (Keeping larynx passive and re- 
 laxed.) 
 
 b. Make the sound of initial u k" (without emitting 
 
 any breath) by striking the back of the tongue 
 against the soft palate, k-k-k k-k-k k-k-k. 
 
 c. Sing "koo-koo" oh each degree up the scale, keep- 
 
 ing throat relaxed and emitting very little breath. 
 
 d. Sing "koo-koo-koo" up the scale in a similar way. 
 
 Chamberlain. 
 
 [122] 
 
LESSON XXXVII 
 
 Study this selection from a speech made in the United 
 States Senate, March 4, 1898, and mark the assertive words. 
 
 I am here by command of silent lips to speak once and 
 for all upon the Cuban situation. ... I shall endeavor to 
 be honest, conservative, and just. I have no purpose to 
 stir the public passion to any action not necessary and im- 
 perative to meet the duties and necessities of American 
 responsibility, Christian humanity, and national honor. I 
 would shirk this task if I could, but I dare not. I cannot 
 satisfy my conscience except by speaking-, and speaking 
 now. 
 
 I went to Cuba firmly believing that the condition of 
 affairs there had been greatly exaggerated by the press, and 
 my own efforts were directed in the first instance to the 
 attempted exposure of these supposed exaggerations. There 
 has undoubtedly been much sensationalism in the jour- 
 nalism of the time, but as to the condition of affairs in 
 Cuba there has been no exaggeration, because exaggeration 
 has been impossible. 
 
 Under the inhuman policy of Weyler not less than 
 400,000 self-supporting, simple, peaceable, defenceless coun- 
 try people were driven from their homes in the agricultural 
 portions of the Spanish provinces to the cities, and im- 
 prisoned upon the barren waste outside the residence por- 
 tions of these cities and within the lines of entrenchment 
 established a little way beyond. Their humble homes were 
 burned, their lields laid waste, their implements of hus- 
 bandry destroyed, their live stock and food supplies for 
 the most part confiscated. Most of these people were old 
 men, women and children. They were thus placed in 
 hopeless imprisonment, without shelter or food. There 
 was no work for them in the cities to whicti they were 
 driven. They were left there with nothing to depend 
 upon except the scanty charity of the inhabitants of the 
 cities, and with slow starvation their inevitable fate. . . . 
 
 I counselled silence and moderation from this floor 
 when the passion of the nation seemed at a white heat over 
 the destruction of the Maine; but it seems to me the time 
 for action has now come. . . . Every hour's delay only 
 adds another chapter to the awful story of misery and 
 death. Only one power can intervene, the United States 
 of America. Ours is the one great nation of the New World, 
 the mother of American republics. She holds a position of 
 trust and responsibility toward the peoples and affairs of 
 
 [123] 
 
the whole Western Hemisphere. It was her glorious ex- 
 ample which inspired the patriots of Cuba to raise the flag 
 of liberty in her eternal hills. We cannot refuse to accept 
 this responsibility which the God of the universe has 
 placed upon us as the one great power in the New World. 
 We must act! What sha-11 our action be? . . . There is 
 only one action possible, if any action is taken; that is, in- 
 tervention for the independence of the island. . . . 
 
 But we cannot intervene and save Cuba without the 
 exercise of force, and force means war; war means blood. 
 ... I believe in the doctrine of peace; but men must have 
 liberty before there can be any abiding peace. When has a 
 battle for humanity and liberty ever been won except by 
 force? What barricade of wrong, injustice, and oppres- 
 sion has ever been carried except by force? 
 
 Force compelled the signature of unwilling royalty to 
 the great Magna Gharta; force put life into the Declaration 
 of Independence and made effective the Emancipation Proc- 
 lamation; force waved the flag of Revolution over Bunker 
 Hill and marked the snows of Valley Forge with blood- 
 stained feet; force held the broken line of Shiloh, climbed 
 the flame-swept hill at Chattanooga, and stormed the 
 clouds on Lookout Heights; force marched with Sherman 
 to the sea, rode with Sheridan in the Valley of the Shen- 
 andoah, and gave Grant victory at Appomattox. . . . The 
 time for God's force has come again. Let the impassioned 
 lips of American patriots once more take up the song: 
 
 In the beauty of the lilies Christ was born across the sea, 
 With a glory in His bosom that transfigured you and me. 
 As He died to make men holy, let us die to maxe men free, 
 For God is marching on. 
 
 Others may hesitate, others may procrastinate, others 
 may plead for further diplomatic negotiations, which means 
 delay, but for me, I am ready to act now, and for my action 
 I am ready to answer to my conscience, my country, and 
 my God. John M. Thurston. 
 
 1. Study the following sonnet until you understand it. 
 
 2. Write a condensative paraphrase of it. (50 words.) 
 
 3. Mark the assertive words in the poem. 
 
 The world is too much with us; late and soon, 
 Getting and spending, we lay waste our powers: 
 Little we see in nature that is ours; 
 We have given our hearts away, a sordid boon! 
 The Sea that bares her bosom to the moon; 
 The winds that will be howling at all hours, 
 And are upgathered now like sleeping flowers; 
 For this, for everything, we are out of tune; 
 It moves us not Great God! I'd rather bo 
 [124] 
 
A pagan suckled in a creed outworn; 
 
 So might I, standing on this pleasant lea 
 
 Have glimpses that would make me less forlorn; 
 
 Have sight of Proteus rising from the sea; 
 
 Or hear old Triton blow his wreathed horn. 
 
 Wordsworth. 
 
 EXERCISES 
 
 38. a. Yawn; then keeping the teeth apart, close the lips 
 and vibrate the vocal chords in a delicate hum, 
 with no breathiness, m-m-m. 
 
 b. Join to this delicate sound the various vowel 
 sounds m-ah, m-oo, m-e, m-i, without breathi- 
 ness. 
 Test by holding lighted match before mouth. 
 
 [125] 
 
LESSON XXXVIII 
 
 Discrimination 
 
 You have learned to recognize sentences and passages 
 that address the hearer's reasoning or comparing faculty. 
 After you have studied a passage and found the author's 
 purpose you can tell the type of Discrimination from Pre- 
 sensation or from Emotion or from Volition. The next 
 problem is, how are you going to show this meaning to 
 your hearer? You know, by careful study, that a certain 
 passage belongs to the class of Discrimination, and appeals 
 to the reason, but how are your hearers to know that? 
 They must of course get it somehow from the tone of your 
 voice and from your gesture. 
 
 Let us see what characteristics of tone are used in Dis- 
 crimination. You remember that the characteristic of 
 Presentation is Time; the groups being larger or smaller, 
 and the rate of movement faster or slower, according to 
 the ease or difficulty of taking in the thoughts. The 
 characteristic of Discrimination is Pitch; when you show 
 the comparisons, the differences, the particular points to 
 your hearer, the tones of your voice change from a high 
 key to a lower, or from a low key to a higher. This 
 change, which is called inflection, draws attention to the 
 word on which it occurs, and so draws attention to the 
 particular aspect of the thought you want the hearer to 
 consider. 
 
 Cassius. What's the matter? You look pale. 
 
 Casca. Are not you frightened? 
 
 In Casca's reply the change of pitch on the word "you" 
 indicates a contrast between Cassius and himself. As if 
 Casca said "I am frightened of course, are you not?" 
 
 If you will come, I will help you. 
 
 On the word "come" the voice rises about three notes. 
 Why? To call attention to the condition on which the 
 help will be given. 
 
 [126] 
 
As you have already seen, the difference between what 
 is assumed and what is asserted is shown by inflection, 
 the voice goes downward and onward on the assertive 
 word, and the assumed portion of the clause or sentence 
 is lighter and inclines to an upward inflection. In the 
 next few lessons we shall study the most important kinds 
 of thought that come under the type Discrimination. 
 
 Momentary Completeness. You give thought with mo- 
 mentary completeness when you consider it, for the 
 moment, as an entire thought; or at least as important 
 enough to occupy, for the time, the entire attention. 
 
 Sir, we have done everything that could be done to 
 avert the storm which is now coming on.XWe have 
 petitioned, \ we have remonstrated, \ we have suppli- 
 cated, \ we have prostrated ourselves before the throne. \ 
 Our petitions have been slighted, X our remonstrances 
 have produced additional violence and insult, \ our sup- 
 plications have been disregarded, \ and we have been 
 spurned with contempt from the foot of the throne. \ 
 
 The reader gives these clauses in momentary ' com- 
 pleteness because each is of enough importance to be con- 
 sidered in itself, and not as a mere preliminary to some- 
 thing that follows. He says by this falling inflection: we 
 have remonstrated, keep that in mind. We have suppli- 
 cated, that must not be overlooked. 
 
 Note: When the mind gathers up the preceding thoughts 
 and feelings in a concluding statement as if it said this is 
 the culmination of the whole matter, that is not momentary 
 but Cumulative Completeness. The voice falls in this also, 
 but the falling inflection is more decided, and the voice 
 rises in a preparatory cadence just before it falls, and 
 thus descends about five tones. 
 
 But now, in this Valley of Humiliation, poor Christian 
 was hard put to it; for he had gone but a little way be- 
 fore he espied a foul fiend coming over the field to meet 
 him: his name is Apollyon. Now the monster was hid- 
 eous to behold: he was clothed with scales like a fish 
 (and they are his pride) ; he had wings like a dragon, 
 feet like a bear, and out of his belly came fire and 
 smoke; and his mouth was as the mouth of a lion. 
 
 Find two other examples of Cumulative Completeness in 
 the selection, page 91. 
 
 1. Mark the cases of Momentary Completeness in 
 "Crossing the Bar," page 27. 
 [127] 
 
2. Mark the cases of Momentary Completeness in Lin- 
 
 coln's speech at Gettysburg, page 32. 
 
 3. Mark the cases of Momentary Completeness in the 
 
 passage on Garfield, page 107. 
 
 4. Mark the cases of Cumulative Completeness in these 
 
 three passages. 
 
 EXERCISES 
 
 Describe exercise 32, explain its purpose, and lead the 
 class in practice. 
 
 L128] 
 
LESSON XXXIX 
 
 Expectation. When a phrase or clause is a preparation 
 fur some statement to follow, the voice shows the expecta- 
 tion by a rising inflection at the end of the phrase or 
 clause. 
 
 If you will come/ I will help you. 
 
 At the end of the first clause, the rising inflection in 
 your voice should lead your hearer to expect something 
 more. This expectation is found wherever a condition 
 is expressed or implied. 
 
 The wretch concenter'd all in self, 
 Living/, shall forfeit fair renown; 
 And, doubly dying/, shall go down 
 To the vile dust, from whence he sprung, 
 Unwept, unhonored, and unsung. 
 
 Here the participle states a condition. It is equal to 
 if he lives, he shall forfeit, etc. 
 
 Point, out the cases of expectation in the following 
 passages: 
 
 Speak the speech, I pray you, as I pronounced it to 
 you, trippingly on the tongue; but if you mouth it, as 
 many of our players do, I had as lief the towncrier 
 spake my lines. Nor do not saw the air too much with 
 your hand thus, but use all gently; for in the very tor- 
 rent, tempest, and, as I may say, whirlwind of your 
 passion, you must acquire and beget a temperance, that 
 may give it smoothness. 
 
 Nothing in my hand I bring, 
 Simply to Thy cross I cling; 
 Naked, come to Thee for dress, 
 Helpless, look to Thee for grace; 
 Foul I to the Fountain fly, 
 Wash me, Savior, or I die. 
 
 In the selection, The True Kings of the Earth, page 
 15. mark the instances (a) of expectation, (b) of momen- 
 tary completeness, and (c) of assertion. 
 
 EXERCISES 
 
 Describe and explain the purpose of exercise 33, then 
 lead the class in the practise. 
 
 [129] 
 
LESSON XL 
 
 Concession. When you concede a point, or toss it 
 aside as not worth discussion, when you mention a matter 
 merely to dismiss it, without taking the trouble to make a 
 positive statement, the voice expresses this "unpositive" 
 state of mind by an upward inflection. It rises about four 
 tones, generally with a quick toss. 
 
 This concessive attitude is, naturally, more common in 
 conversation than in formal discourse. 
 
 There are probably other stores open. 
 
 As far as that goes, he behaved well enough. 
 
 As a matter of course, I am expecting to pay for 
 this. 
 
 This is sometimes called a negative. If you use that 
 term for it, you must not confuse negative with denial. 
 We should speak of the two sides of a debate as affirming 
 and denying. To say a thing is not true is a very positive 
 statement. A negative is not the opposite of an affirmation, 
 but the absence of any affirmation. 
 
 Mark the cases (a) of concession, (b) of expectation, 
 and (c) of momentary completeness in "Christian's Fight 
 with Apollyon" on page 91. 
 
 Note: In Christian's first reply notice the Hesitation. 
 He i. for a moment embarrassed by fear. In doubt or 
 hesitation the voice is suspended, going neither up nor 
 downdown, e. g., I am come from the City of Destruction. 
 
 Mark the same things in the following: 
 
 Scrooge took his melancholy dinner in his usual mel- 
 ancholy tavern; and having read all the newspapers, and 
 beguiled the rest of the evening with his banker's-book, 
 went home to bed. He lived in chambers which had once 
 belonged to his deceased partner. 
 
 Now it is a fact that there was nothing at all particular 
 about the knocker on the door, except that it was very 
 large. It is also a fact that Scrooge had seen it, night 
 and morning, during his whole residence in that place. 
 
 [130] 
 
Then let any man explain to me, if he can, how it happened 
 that Scrooge, having his key in the lock of the door saw 
 in the knocker not a knocker but Marley's face. 
 
 He went upstairs trimming his candle as he went. 
 
 Before he shut his heavy door, he walked through his 
 rooms to see that all was right. He had just enough 
 recollection of the face to desire to do that. 
 
 Sitting-room, bed-room, lumber-room. All as they 
 should be. Nobody under the table, nobody under the 
 sofa; a small fire in the grate; spoon and basin ready; 
 and the little sauce pan of gruel (Scrooge had a cold in 
 his head) upon the hob. 
 
 Quite satisfied, he closed his door, and locked himself 
 in, which was not his custom. Thus secured against sur- 
 prise, he took off his cravat; put on his dressing-gown 
 and slippers, and his night-cap; and sat down before the 
 fire to take his gruel. A Christmas Carol. 
 
 EXERCISES 
 
 Explain the reason for exercises 34 and lead the class 
 in giving some suitable and familiar sentences. 
 
 [131] 
 
LESSON XLI 
 
 You have studied the most important things involved in 
 Discrimination. You can now recognize the Author's pur- 
 pose and show it by your voice, when it is momentary 
 completeness or cumulative completeness; when it is the 
 hesitancy of doubt, the looking forward of expectation, or 
 the easy toss of concession. 
 
 You can with very little practice tell cases of Exclama- 
 tion, in which the voice rises nearly an octave. This up- 
 ward slide is not always on the last word of the sentence. 
 
 What a beautiful sight! 
 
 Here the voice rises upon "beautiful" for the excla- 
 mation is about the beauty. Exclamations are not always 
 followed by an exclamation point; e. g., 
 
 Shall not the judge of all the earth do right? 
 
 This is an exclamation but the interrogation point is 
 put after all sentences that are in the grammatical form 
 of a question, and therefore mere punctuation is not a 
 safe guide to the meaning and purpose of the Author. 
 
 Will you be kind enough to shut the door? 
 
 This of course has the grammatical form of a question, 
 but the speaker does not ask because he is ignorant and 
 wishes information. It is riot a real question, but rather 
 a polite form of command. The voice therefore instead 
 of rising live tones, (as it does in a real question) slides 
 downward, just as if the direction or command had been 
 put in an imperative form: 
 
 You will close the doorX. 
 
 Whether a passage is a real question can be decided best 
 by paraphrasing it in such a way as to show whether the 
 speaker really wants information. 
 
 Study the first scene of "Julius Caesar," page 88, and 
 decide whether each question is a real question, an 'ex- 
 clamation, or a command. 
 
 Mark in the margin the real questions, the exclamations, 
 etc. 
 
 [132] 
 
READING "SIGNS." 
 
 A frontiersman roads what he calls "signs"' on the 
 prairies as readily as a city man reads the sign-boards 
 in the streets. Tracks, a broken twig, a crushed weed, and 
 the remains around a camp-fire, are as legible to a cow-boy 
 as an advertisement to a reader. A Texas paper illustrates 
 this art of reading "signs' 1 by the following narrative: 
 
 "About two miles from town he suddenly checked his 
 horse, gazed intently on the ground, and said, 'Some fel- 
 low has lost his saddle-horse here this morning.' 
 
 'Thi*e was no advertisement on any of the trees, offer- 
 ing a reward for a lost horse, and, as there was no lost 
 horse in sight, we were at a loss to understand how 7 , if a 
 horse was lost, our friend could know so much about it. 
 
 "The doctor inquired, 'How do you know that a horse 
 has been lost?' 
 
 '' 'I see his tracks.' 
 
 " 'Aro there not hundreds of horses pasturing on the 
 prairie? and how do you know that this is not the track 
 of one of them?' 
 
 "'Because he is shod; and the horses herding on the 
 prairie do not wear shoes.' 
 
 " 'How do you know that he is a saddle-horse, and 
 lost?' 
 
 " 'I see a rope-track alongside his trail. The horse has 
 a saddle on, and the rope hangs from the horn of the 
 saddle.' 
 
 "'But why may he not be a horse that some one has 
 ridden over this way this morning? and why do you insist 
 that he is lost?' 
 
 "'Because, if a man had been on his bacK, he would 
 have ridden him on a straight course. But this horse has 
 moved from side to side of the road as he strolled along, 
 and that is a plain sign that he grazed as he went, and 
 that he had no rider. 1 
 
 " 'After that, it would not surprise me, 1 said the doctor, 
 'if you were to tell us the age of the horse and the name 
 of the owner.' 
 
 ''Well, that would not be very hard to do. There are 
 signs that have told me the owner's name, and there are 
 other signs that, if I had time to examine, would tell me 
 his age. T know he is one of old man Pendergrast's 
 horses. Pendergrast has a large bunch of horses down in 
 the bottom, and an old darky down there, does all his 
 shooing, and shoes no other horses except his. So we 
 know his shoe-track just the same as we Know his 
 brand. 1 " 
 
 EXERCISES 
 
 Describe exercise 35 so clearly that new students, if 
 present, would know how and why to do it. Lead the 
 class in practising it. 
 
 [133] 
 
LESSON XLII 
 
 Implied Contrast. The last element that we shall study 
 in Discrimination is comparison or contrast, in which the 
 speaker implies a comparison that he does not state in 
 words. He mentions something with an inflection of voice 
 that plainly indicates a contrast between it and something 
 else not there mentioned. Of course assertion sets oil the 
 asserted word or idea from what is assumed, and there is 
 a sort of contrast in that. But in assertion you do not 
 contrast something you say with something you leave un- 
 said. Indeed there is no definite contrast at all between 
 what you assert and what you assume. 
 
 I did not recognize him at first. 
 
 This is a simple assertive inflection, downward and 
 onward. 
 
 My castles are my king's alone 
 From turret to foundation stone*-- 
 
 The hand of Douglas is his own. 
 
 Here, there is a strong contrast between his castles 
 (which he holds as a vassal or renter from the King), and 
 his dignity, over which even the king has no authority. 
 The voice shows this implied contrast by rising and fall- 
 ing upon the same word. This double motion of the voice 
 on a single word is the mind's instinctive way of indicat- 
 ing a contrast that is not fully expressed in words. 
 
 Daniel Webster, after discussing Hayne's statement that 
 men must choose liberty or union, wishes to deny that he 
 must give up liberty if he chooses union, and says he will 
 choose Liberty and Union. The contrast is not stated in 
 words, but is shown by the double slide in the voice upon 
 the word "and" which is contrasted in Webster's mind 
 with "or." 
 
 1. Find five or six cases of such contrast in "Marmion 
 
 and Douglas" page 74. 
 
 2. State clearly and exactly what contrast is implied, 
 
 and paraphrase each so as to bring the contrasted 
 ideas into sharp opposition. 
 [134] 
 
3. Study this section, especially the last paragraph, 
 for cases of contrast. 
 
 LIBERTY AND UNION 
 
 1. I profess, sir, in my career hitherto, to have kept 
 steadily in view, the prosperity and honor of the whole 
 country, and the preservation of our federal union. It 
 is to that union we owe our safety at home, and our con- 
 sideration and dignity abroad. It is to that union that we 
 are chiefly indebted for whatever makes us most proud of 
 our country. That union we reached only by the dis- 
 cipline of our virtues, in the severe school of adversity. 
 It had its origin in the necessities of disordered finance, 
 prostrate commerce, and ruined credit. Under its benign 
 influences, these great interests immediately awoke, as 
 from the dead, and sprang forth with newness of life. 
 Every year of its duration has teemed with fresh proofs 
 of its utility and its blessings; and although our territory 
 has stretched out wider and wider, and our population 
 spread farther and farther, they have not outrun its protec- 
 tion or its benefits. It has been to us all a copious foun- 
 tain of national, social, and personal happiness. 
 
 2. I have not allowed myself, sir, to look beyond the 
 union, to see what might lie hidden in the dark recess 
 behind. I have not coolly weighed the chances of preserv- 
 ing liberty, when the bonds that unite us together shall be 
 broken asunder. I have not accustomed myself to hang 
 over the precipice of disunion, to see whether, with my 
 short sight, I can fathom the depth of the abyss below: 
 nor could I regard him as a safe counselor in the affairs 
 of this government, whose thoughts should be mainly bent 
 on considering, not how the union should be preserved, 
 but how tolerable might be the condition of the people, 
 when it shall be broken up and destroyed. 
 
 3. While the union lasts we have high, exciting, grati- 
 fying prospects spread out before us, for us and our chil- 
 dren. Beyond that I seek not to penetrate tlie vail. God 
 grant that in my 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, in fra- 
 ternal blood! Let their last feeble and lingering 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 interrog- 
 atory as What is all this worth? Nor those other words 
 
 [135] 
 
of delusion and folly Liberty first and union afterward; 
 hut 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, in every wind under the whole 
 heavens, that other sentiment, dear to every true Ameri- 
 can heart Liberty and Union, now and forever, one and 
 inseparable !u- Daniel Webster. 
 
 Note: Sometimes there is combined with the idea of 
 contrast another idea of question, concession, or expecta- 
 tion, as in the second paragraph of Webster's speech: 
 
 Not how the Union should be preserved, 
 
 this triple inflection of the voice is equal to an inflection 
 of contrast (/\) and in addition an inflection v of expecta- 
 tion (/) /\ / which put together becomes a wave. (~"^) 
 
 In Marmion's reply to Douglas. 
 
 This to me! 
 the triple inflection shows contrast and exclamation. 
 
 EXERCISES 
 
 Describe the method and purpose of practising exercise 
 36, then lead the class. Correct any errors. 
 
 [136] 
 
LESSON XLIII 
 
 You have learned to classify all utterances either as 
 Presentation, or Discrimination, or Emotion, or Volition. 
 You have studied Presentation and Discrimination with 
 some thoroughness. Now you are to learn how to analyze 
 a-nd express the passages that contain Emotion. 
 
 Emotion is a very important factor in speaking. It 
 kindles the imagination; it enlists the sympathies, it ce- 
 rnents the speaker and hearers together, it is the source of 
 eloquence, and the incentive to action. We may therefore 
 expect a large proportion of public speech to be tinged 
 with some sort of Emotion, 
 
 You will probably find more difficulty in analyzing Emo- 
 tion than you found in studying Presentation and Discrim- 
 ination. Usually the Speaker does not talk in order to 
 show his feeling, but his feeling manifests itself inciden- 
 tally as he utters his thought. Therefore, because emo- 
 tion is thus expressed incidentally, it is at first difficult 
 to recognize a Speaker's feelings from the printed page, 
 though you have no such difficulty when you hear him. 
 
 This makes paraphrasing especially important. And in 
 paraphrasing a passage containing emotion you must make 
 clear and vivid not only the ideas, but also the feelings in- 
 volved. You need to get freshly in mind not so much 
 what the Speaker said, as the feeling he showed in saying 
 it. 
 
 Read these two stanzas and notice the differences be- 
 tween sensing the feeling and merely reading off the 
 words. 
 
 SEEING AND NOT SEEING 
 
 The one with yawning made reply: 
 "What have we seen? Not much "have I! 
 Trees, meadows, mountains, groves, and streams, 
 Blue sky and clouds, and sunny gleams." 
 
 The other, smiling said the same; 
 But with face transfigured and eye of flame: 
 'Trees, meadows, mountains, groves, and streams! 
 Blue sky and clouds, and sunny gleams!" 
 
 G. T. Brooks. 
 [137] 
 
For convenience we may group the various Feelings into 
 nine classes: Genial Feeling, Exalted Feeling, Stern Feel- 
 ing, Awesome Feeling, and feelings of Tenderness, Weari- 
 ness, Stealthiness. Agitation and Intensity. 
 
 Genial feeling is a comfortable and buoyant state of 
 mind, serene and cheerful. There is no strong emotion, 
 but a mild sense of pleasure in meeting people and sharing 
 one's thoughts with them. 
 
 His reminiscences of good cheer, however ancient the 
 date of the actual banquet, seemed to bring tlie savor of 
 pig or turkey under one's very nostrils. There were flavors 
 on his palate, that had lingered there not less than sixty 
 or seven! y years, and were still apparently as fresh as that 
 of the mullon-chop which he had just devoured for his 
 breakfast. 
 
 At Lincoln Cathedral there is a beautiful painted win- 
 dow, which was made by an apprentice out of the pieces 
 of gla^s which had been rejected by his master. 
 
 My early life ran quiet as the brooks by which I sport- 
 ed; ;md when at noon T gathered the sheep heneath the 
 shade, and played upon the shepherd's flute, there was a 
 friend, the son of a neighbor, to join me in the pastime. 
 
 Deep sleep had fallen on the destined victim, and on all 
 beneath his roof. A healthful old man, to whom sleep 
 was sweet the tirst sound slumbers of the night held him 
 in their soft but strong embrace. 
 
 To meet and talk with one's fellowmen is a pleasure. 
 An unspoiled, natural man has a genial, cheerful feeling 
 whenever he sees a human face. A man in normal condi- 
 tion, healthy, vigorous, comfortable, will show this feeling 
 of pleasure and kindliness in much of his conversation. 
 
 Tn expressing this genial feeling his bearing will natur- 
 ally be reposeful, his muscles elastic and unconstrained. 
 His voice will be in the flexible, easy pure tone. This 
 quality of tone is resonant and musical, and is produced 
 with the least possible muscular effort. 
 
 Mark in the margins of these selections all the feelings 
 you recognize, but especially Genial Feeling. 
 
 Be sure to read those passages w r ith genuine cheerful- 
 ness. 
 
 Lucy Stone was gifted with one charm in which the ma- 
 jority of her country women are sadly deficient. She was 
 the possessor of a sweet, rich, mellow voice, penetrating 
 
 [138] 
 
but persuasive, and so delightful in quality that persons 
 who had heard her speak only once would sometimes rec- 
 ognize her years afterward if they chanced to hear her 
 utter a single sentence. This winning voice, united with 
 a dignilied, gentle and entirely feminine demeanor, some- 
 times enabled her to win curious triumphs over rough and 
 turbulent crowds. 
 
 Once at an anti-slavery meeting held on Cape God, at a 
 time when Abolitionists were dangerously unpopular, the 
 crowd which gathered around the open-air platform as 
 the time approached for the speaking to begin, became so 
 unmistakably threatening and mischievous that the speak- 
 ers announced to appear, one after another slipped quietly 
 away, until only Stephen Foster and Lucy Stone remained. 
 Looking down upon the heaving and riotous assembly, she 
 said to him quietly: 
 
 "You had better run, Stephen; they are coming." 
 
 "But who will take care of you?" he naturally inquired. 
 
 At that moment the mob made a rush for the platform, 
 and their leader, a big man with a club, sprang upon it 
 close beside her. Turning to him without a moment's hes- 
 itation, and calmly laying her hand within his arm, she 
 said: 
 
 "This gentleman \yill take care of me." 
 
 The astonished rioter declared immediately that he 
 would, and tucking her arm under his and keeping his 
 club in the other hand, he marched her through the crowd, 
 who were already handling Mr. Foster and a few other 
 Abolitionists pretty roughly. Then in compliance with her 
 fervent entreaty, he mounted her upon a stump and stood 
 guard over her with his club while she delivered her 
 address, which was so eloquent and effective that her 
 hearers desisted from further violence, ana capped the 
 climax by actually taking up a collection of twenty dol- 
 lars to repay Mr. Foster for the destruction of his coat, 
 which had been torn from top to bottom in the struggle. 
 
 FOUR LITTLE GRIZZLIES 
 
 Their mother was just an ordinary silver tip, loving 
 the quiet life that all bears prefer, minding her own busi- 
 ness and doing her duty by her family, asking no favors of 
 any one excepting to be let alone. It was July before she 
 took her remarkable family down the Little Piney to the 
 Claybull and showed them what strawberries were and 
 where to find them. Notwithstanding their mother's deep 
 conviction, the cubs wore not remarkably big nor bright; 
 yet they were a remarkable family, for there were four of 
 them, and it is not often a grizzly mother can boast of 
 more than two. 
 
 The wooly coated little creatures were having a fine 
 time and revelled in the lovely mountain summer and the 
 abundance of good things. Their mother turned over each 
 
 [139] 
 
log and flat stone they carnq to. The moment it was lifted, 
 they all rushed under it, like a lot of little pigs, to pick 
 up the ants and grubs there hidden. It never occurred to 
 them that mammy's strength might fail some time and 
 let the great rock d^op just as they went under it; nor 
 would any one have thought so that might have chanced to 
 see that huge arm and that huge shoulder sliding about 
 under the great yellow robe she wore. No, no, that arm 
 could never fail. The little ones were quite right. So they 
 hustled and tumbled over one another at each fresh log in 
 their haste to be first, and squealed little squeals and 
 growled little growls, as if each were a pig, a pup, and a 
 kitten, all rolled into one. 
 
 They were well acquainted with the common brown 
 ants that harbor under logs in the uplands, but now they 
 came for the first time on one of the ant hills of the great, 
 fat, luscious wood ant, and they all crowded around to lick 
 up those that ran out. But they soon found that they 
 were licking up more cactus prickles and sand than ants 
 till their mother said in Grizzly, "Let me show you how." 
 She knocked off the top of the hill, and then laid her great 
 paw flat on it for n few moments; and, as tvie angry ants 
 swarmed to it, she licked them up with one lick and got a 
 rich mouthful to crunch without a grain of sand or cactus 
 stinger in it. The cubs soon learned. Each put his little 
 brown paws, so that there was a ring 1 of paws all around 
 the ant hill; and there they sat, like children playing 
 "hands," and each licked the right and then the left paw, 
 or one cuffed his brother's ear for licking a paw that was 
 not his own, till the ant hill was cleared out and they were 
 ready for a change. Ernest Seton-Thompson, 
 
 Our opponents have charged us with being the pro- 
 moters of a- dangerous excitement. They have the effron- 
 tery to say that T am the friend of public disorder, ] am 
 one of the people. Surely, if there be one thing in a free 
 country more clear than another, it is that any one of the 
 people may speak openly to the people. Tf T speak to the 
 people of their rights, and indicate to them the way to 
 secure them, if T sneak of their danger to the monopolists 
 of power, am T not a wise counselor, both to the people 
 and to their rulers? 
 
 Suppose T stood at the foot of Vesuvius, or ^tna, and 
 seeing a hamlet or a homestead planted on its slope, I said 
 to the dwellers in that hamlet, or in that home, "You 
 see that vapor which ascends from the summit of the 
 mountain: that vanor may become a dense, black smoke, 
 that will obscure the sky. You see the trickling of lava 
 from the crevices in the side of the mountain: that trick- 
 ling 1 of lava may become a river of fire*. You hear that mut- 
 tering- in the bowels of the mountain: that muttering may 
 become a bellowing thunder, the voice of a violent con- 
 
 [140] 
 
vulsion, that may shako half a continent. You know that 
 at, your foot is the grave of great cities, for which there 
 is no resurrection, as histories tell us that dynasties and 
 aristocracies have passed away, and their names have been 
 known no more forever." 
 
 If I say this to the dwellers upon the slope of the mount- 
 ain, and if there comes hereafter a catastrophe which 
 makes the world to shudder, am I responsible for that ca- 
 tastrophe? I did not build the mountain, or fill it with 
 explosive materials. I merely warned the men that were 
 in danger. So, now, it is not I who am stimulating men 
 to the violent pursuit of their acknowledged constitutional 
 rights. 
 
 The class which has hitherto ruled in this country has 
 failed miserably. It revels in power and wealth, whilst at 
 its feet, a terrible peril for its future, lies the multitude 
 which it has neglected. If a class has failed, let us try the 
 nation. 
 
 That, is our faith, that is our purpose, that is our cry. 
 Let us try the nation. This it is which has called together 
 these countless numbers of the people to demand a change; 
 and from these gatherings, sublime in their vastness and 
 their resolution, I think I see, as it were, above the hill- 
 tops of time, the glimmerings of the dawn of a better and 
 a nobler day for the country and for the people that I love 
 so well. I John Bright. 
 
 REVIEW QUESTIONS 
 
 1. Should a Speaker ever show any emotion he does not 
 
 feel? 
 
 2. If Hearers see no reason for your emotion will they 
 
 respond? 
 
 3. Is the expression of emotion ever a Speaker's primary 
 
 motive? 
 
 4. What caution is necessary in Paraphrasing Emotion? 
 
 5. Is Genial feeling a mild or a strong emotion? 
 
 [141] 
 
LESSON XLIV 
 
 Note how much gcnia-l feeling there is in this narrative, 
 ond read it with bouyant pleasure. 
 
 JEAN VALJEAN AND THE BISHOP 
 
 This evening the Bishop had remained in his bedroom 
 until a late hour. At eight o'clock Madame Magloire came 
 in as usual to fetch the silver from the wall-cupboard, and 
 the Bishop feeling that supper was ready, and that his 
 sister might be waiting, closed his book, rose from the 
 table and walked into the dining-room. 
 
 There was a loud rap at the front door. "Come in," 
 said the Bishop. A man entered and stopped; the fire- 
 light fell on him; he was hideous. 
 
 "My name is Jean Valjcan. I am a galley-slave, and 
 have spent nineteen years in the prison. I was liberated 
 four days ago, I have been walking for days, and today I 
 have marched thirty-six miles. On coming into the town 
 I went to the inn, but was sent away in consequence of 
 my yellow passport. T went to another inn, and the land- 
 lord said to me, 'Be off!' I went to the prison but the jailer 
 would not take me in. I was lying down in the square 
 when a good woman pointed to your house a-nd said, 'Go 
 and knock there.' I have money which I earned by my 
 nineteen years' toil. I am very tired and frightfully hungry; 
 will you let me stay?" 
 
 "Madame Magloire, you will lay another plate, knife 
 and fork." 
 
 The man advanced, "Wait a minute; that will not do. 
 Did you not hear me say that I was a galley-slave, a con- 
 vict, and had just come from the prison. Here is my pass- 
 port, yellow, you see, which turns me out wherever I 
 go: Mean Valjean, a liberated convict, has remained nine- 
 teen years at the galleys, five years for robbing with 
 housebreaking, fourteen years for trying to escape four 
 times. The man is very dangerous.' All the world has 
 turned me out; and are you willing to receive me? Will 
 you give me some food and a bed? Have you a stable?" 
 
 "Madame Magloire, you will put clean sheets on the 
 bed in the alcove. Sit down and warm yourself, sir. We 
 shall sup directly, and your bed will be got ready while we 
 are supping." 
 
 "Is it true? What? You will let me stay; you will not 
 turn me out? You call me, 'Sir'! I shall have supper; a bed 
 with mattresses and sheets like anybody else! For nineteen 
 years I have not slept in a bed. I will pay handsomely. 
 What is your name, Mr. Landlord?" 
 
 [142] 
 
"F am a priest living in this house." 
 
 "A priest! oh, what a worthy priest! Then you do not 
 want me to pay?" 
 
 "iS'o, keep your money. How long did you take earn- 
 ing 1 these hundred francs?" 
 
 "Ninetee'n years!" The Bishop gave a deep sigh. 
 
 Madame Magloire came in bringing a silver spoon and 
 fork, which she placed on the table. 
 
 ''Madame Magloire, lay them as near as you can to the 
 fire. The night breeze is sharp on the Alps, and you must 
 be cold, sir." 
 
 Each time he said "sir" in his gentle, grave voice the 
 man's face was illumined. "Sir" to a convict is the glass 
 of water to the shipwrecked sailor. Ignominy thirsts for 
 respect. 
 
 "This lamp gives a very bad light." Madame Magloire 
 understood and fetched from the chimney of Monseigneur's 
 bedroom two silver candlesticks, which she placed on the 
 table ready lighted. 
 
 "Monsieur le Cure, you are good, you receive me as a 
 friend and light your wax candles for me, and yet I have 
 not hidden from you whence I come." 
 
 The Bishop gently touched his hand. 
 
 "You need not have told me who you are; this is riot 
 my house but the house of Christ. This door does not ask 
 a man whether he has a name, but if he has sorrow. You 
 are suffering, you are hungering and thirsting, and so be 
 welcome. And do not thank me nor say that I am re- 
 ceiving you in my house, for no one is at home here ex- 
 cepting the man who is in need of an asylum. I tell you 
 who are a passer-by, that you are more at home than I 
 myself, for all there is here is yours. Why do I \vant to 
 know your name? Besides, before you told it to me, you 
 had one which I knew." 
 
 "You know my name?" 
 
 "Yes, you are my brother." 
 
 "I was very hungry when I came in, hut you are so 
 kind that it has passed." 
 
 "You have suffered greatly." 
 
 "Oh, the red jacket, the cannon ball on your foot, a 
 plank to sleep on, heat, cold, the blows, the double chain 
 for nothing, a dungeon for a word, even when you are ill 
 in bed, and the chain-gang! The very dogs are happier. 
 Nineteen years! And now I am forty-six and the yellow 
 passport!" 
 
 "Yes, you have come from a place of sorrow. If you 
 leave that mournful place with thoughts of hatred and 
 anger against your fellow man, you are worthy of pity; if 
 you leave it with thoughts of kindliness, gentleness and 
 peace, you are worth more than any of us." 
 
 Meanwhile Madame Magloire had served the supper. 
 [143] 
 
The Bishop during the whole evening did not utter a word 
 which could remind this man of what he was. 
 
 The rooms were so arranged that in order to reach the 
 oratory where the alcove was it was necessary to pass 
 through the Bishop's hedroom. At the moment he went 
 through this room Madame Magloire was putting away the 
 plate in the cupboard over the bed head. 
 
 "I trust you will pass a good night," said the Bishop. 
 
 "Thank you, Monsieur 1'Abbe." He suddenly turned, 
 "What! you really lodge me so close to you as that? Who 
 tells you that I have not committed a murder?" 
 
 "That is God's concern." 
 
 The Bishop stretched out two fingers of his right hand, 
 and blessed the man, who did not bow his head, and re- 
 turned to his bedroom. 
 
 As two o'clock peeled from the cathedral bell Jean Val- 
 jean awoke. He could not go to sleep again, his thoughts 
 were confused, but one kept coming back, the six silver 
 forks and spoons and the great ladle which alone was worth 
 two hundred francs, or double what he had earned in 
 nineteen years, it was there, a few yards from him. His 
 mind struggled for a good hour. 
 
 When three o'clock struck he suddenly opened his knap- 
 sack, took a bar in his right hand, walked toward the door 
 of the adjoining room and pushed it lightly. He waited, then 
 pushed more boldly. A badly-oiled hinge suddenly uttered a 
 hoarse prolonged cry in the dark'ness. Jean Valjean stopped, 
 shuddering and dismayed. A few minutes passed; nothing 
 had stirred. He had heard from the end of the room the calm 
 and regular breathing of the sleeping Bishop. He advanced 
 cautiously. At this moment a cloud was rent asunder and 
 a moonbeam suddenly illumined the Bishop-s pale face. 
 The sleeper seemed to be surrounded by a glory. There was 
 almost a divinity in this unconsciously august man. Jean 
 Valjean was standing in the shadow with the crowbar in 
 his hand, motionless and terrified. He had never seen any- 
 thing like this before, and such confidence Horrified him. 
 It seemed as though he was hesitating between two abysses 
 the one that saves and the one that destroys; he was 
 ready to dash out the Bishop's brains or kiss his hand. 
 All at once Jean Valjean went straight to tne cupboard, 
 seized the plate basket, hurried across the room, opened 
 the window, put the silver in his pocket, threw away the 
 basket, leaped into the garden, bounded over the wall 
 like a tiger, and fled. 
 
 The next morning at sunrise Monseigneur was walking 
 outside when Madame Magloire came running toward him 
 in a state of great alarm. . 
 
 "Monseigrieur, the man is gone the plate is stolen." 
 
 "Was that plate ours?" Madame Magloire was speechless. 
 
 "Madame Magloire, I had wrongfully held back this 
 
 [144] 
 
si Ivor, wlii ch belonged to the poor. Who was this person? 
 Evidently a poor man." 
 
 As the brother and sister were leaving Hie breakfast 
 table there was a knock at the door. 
 
 "Come in," said the Bishop. 
 
 The door opened and a strange and violent group ap- 
 peared on the threshold. Three men were holding a fourth 
 by the collar the fourth was Jean Valjean. 
 
 Monseigneur had advanced as rapidly as his great age 
 permitted, saying. 
 
 "Ah, there you are; I am glad to see you. Why, I gave 
 you the candlesticks, too, which arc also silver. Why did 
 you not take them away with the rest of the plate?" 
 
 Jean Valjean looked at the Bishop with an expression no 
 human language could describe. 
 
 Monseigneur, then what this man told us was true. We 
 met him arid, as he looked as if he were running away, we 
 arrested him. He had this plate." 
 
 "And he told you that it was given to him by an old 
 priest at whose house he had passed the night? I see it 
 all. And you brought him back here; that is a mistake." 
 
 The police loosed their hold of Jean Valjean, who tot- 
 tered back. 
 
 "My friend, before you go take your candlesticks." 
 
 Jean Valjean was trembling in all his limbs; he took the 
 candlesticks mechanically, and with wandering looks. 
 
 "Now", go in peace. By-the-by, when you return, my 
 friend, it is unnecessary to pass through the garden, for 
 you can always enter, day and night, by the front door, 
 which is only latched." 
 
 Then, turning to the police, he said, "Gentlemen, you 
 can retire." 
 
 Jean Valjean looked as if he were on the pofnt of faint- 
 ing. The Bishop walked up to him and said in a low 
 
 "Never forget that you have promised me to employ 
 this money in becoming an honest man. Jean Valjean, my 
 brother, you no longer belong to evil, but to good. I have 
 bought your soul of you. I withdraw it from black thoughts 
 and the spirit of perdition, and give it to God." 
 
 Victor Hugo. 
 
 [145] 
 
LESSON XLV 
 
 Exalted feeling is the emotion aroused by what is noble 
 and grand. It expresses hearty admiration, a sense of 
 greatness, the enthusiasm of a lofty hope, the exaltation of 
 a deep, rich joy. 
 
 Oh to be in England, etc. (page 107). 
 
 As the mountains are round about Jerusalem, 
 So Jehovah is round about his people. 
 
 How good is man's life, the mere living! How fit to 
 
 employ 
 All the heart and the soul and the senses for ever in 
 
 joy! 
 
 The game's afoot; 
 
 Follow your spirit; and upon this charge, 
 Cry, God for Harry, England, and St. George. 
 
 When my eyes shall be turned, etc. (page 76). 
 
 Prepare ye in the wilderness the way of Jehovah; 
 make level in the desert a highway for our God. Every 
 valley shall be exalted, and every mountain and hill 
 shall be made low; and the uneven shall be made level, 
 and the rough places a plain; and the glory of Jehovah 
 shall be revealed, and all flesh shall see it together; 
 for the mouth of Jehovah hath spoken it. 
 
 Isaiah 40:3-5. 
 
 He saith unto them, But who say ye that I am? And 
 Simon Peter answered and said, Thou are the Christ, 
 the Son of the living God. 
 
 To express this Exalted feeling, the mind must be 
 kindled by imagination (best done through paraphrasing) 
 so that mind and body thrill with the great volume of feel- 
 ing; and the tones of the voice become expanded and deep- 
 ened into a full, rich, pure tone. If without Inducing the 
 feeling one tries to imitate it by making his voice louder 
 and bigger, he will become pompous, harsh and hoarse. 
 
 Let your imagination work upon each of the examples 
 in this lesson, then write out a glowing paraphrase of 
 each. 
 
 [146] 
 
Read the passages with the fervor gained from paraphras- 
 ing. Find and bring into class a good example of Exalted 
 feeling. 
 
 EXERCISES 
 
 Describe exercise 37 so clearly that new students, if 
 present, would know how and why to do it. Lead the 
 class in practising it. 
 
 [147] 
 
LESSON XLVI 
 
 Emotion is a very subtle quality, and any attempt to 
 manufacture it repels the hearers. Any suspicion that the 
 speaker is parading his own emotion, or trying to stir up 
 the hearers' feelings, spoils their frank and friendly rela- 
 tions. 
 
 Which of the two pictures of sunrise has more emo- 
 tion? 
 
 Practice reading nil of these selections until you can feel 
 and express exultant enthusiasm. 
 
 I had occasion, a few weeks since, to take the early 
 train from Providence to Boston; and for this purpose rose 
 at two o'clock in the morning. Everything around was 
 wrapt in darkness and hushed in silence, broken only by 
 what seemed at that hour the unearthly clank and rush of 
 the I rain. It was a mild, serene, midsummer's night the, 
 sky was without a clovid the winds were whist. The moon 
 then in the last quarter, had just risen, arid the stars 
 shone with a spectral lustre but little affected by her 
 presence. Jupiter, two hours high, was the herald of the 
 day; Ihe pleiades, just above the horizon, shed their 
 sweet influence in the east. . , . Such was the glorious 
 spectacle as I entered the train. As we proceeded, the 
 timid approach of twilight became more perceptible; the 
 intense blue of the sky began to soften; the smaller stars, 
 like little children, went first to rest: the sister beams of 
 the pliades soon melted together; but the bright constel- 
 lations of the west and north remained 'unchanged. Stead- 
 ily the wondrous transfiguration went on. Hand.s of 
 angels, hidden from mortal eyes, shifted the scenery of 
 the heavens; the glories of night dissolved into the glories 
 of dawn. Edward Everett. 
 
 Day! 
 
 Faster and more fast, 
 
 O'er night's brim, day boils at last; 
 
 Boils, pure gold, o'er the cloud-cup's brim 
 
 Where spurting and suppressed it lay, 
 
 For not a froth-flake touched the rim 
 
 Of yonder gap in the solid gray 
 
 Of the eastern cloud, an hour away; 
 
 But forth one wavelet, then another, curled, 
 
 Till the whole sunrise, not to be suppressed, 
 
 Rose, reddened, and its seething breast 
 
 Flickered in bounds, grew gold, then overflowed the world. 
 
 Robert Browning. 
 [148] 
 
Breathes there the man, with soul so dead, 
 Who never to himself hath said, 
 "This is my own, my native land?" 
 Whose heart hath ne'er within him burn'd, 
 As home his footsteps he hath turn'd 
 From wandering on a foreign strand? 
 If such there breathe, go, mark him well; 
 For him no Minstrel raptures swell; 
 High though his titles, proud his name, 
 Boundless his wealth as wish can claim; 
 Despite those titles, power, and pelf, 
 The wretch, concentered all in self, 
 Living, shall forfeit fair renown; 
 And, douhly dying, shall go down 
 To the vile dust, from whence he sprung, 
 Unwept, unhonor'd, and unsung. 
 
 Sir Waller Scott. 
 
 OPPORTUNITY 
 
 This I beheld, or dreamed it in a dream: 
 
 There spread a cloud of dust along a plain; 
 
 And underneath the cloud, or in it, raged 
 
 A furious battle, and men yelled, and swords 
 
 Shocked upon swords and shields. A prince's banner 
 
 Wavered, then staggered backward, hemmed by foes. 
 
 A craven hung along the battle's edge, 
 
 And thought, "Had I a sword of keener steel 
 
 That blue blade that the king's son bears but this 
 
 Blunt thing! he sna.pt and flung it from his hand, 
 
 And lowering crept away and left the field. 
 
 Then came the king's sota, wounded, sore Destead 
 
 And weaponless, and saw the broken sword, 
 
 Hilt buried in the dry and trodden sand, 
 
 And ran and snatched it, and with battle shout 
 
 Lifted afresh he hewed his enemy down, 
 
 And saved a great cause that heroic day. 
 
 Edward Rowland Sill. 
 (Used by permission of Houghton Mifflin Go.) 
 
 [149] 
 
LESSON XLVII 
 
 Stern feeling includes firmness, haughtiness, reproof, 
 anger, contempt, and any feeling of hardness, in which the 
 speaker does not lose self-control. Uncontrolled anger, 
 etc., is classed under Fierceness. 
 
 He has charged me with being connected with 
 the rebels. The charge is utterly, totally and meanly 
 false. 
 
 Pilate answered: What I have written I have writ- 
 te,n. 
 
 Now what I want is Facts. Teach these boys and 
 girls nothing but Facts. Facts alone are wanted in 
 life. 
 
 Hence! home, you idle creatures, get you home. Is 
 this a holiday? What! know you not, being mechani- 
 cal, you ought not walk upon a laboring day without 
 the sign of your profession? 
 
 But when the king came in to behold the guests, 
 he saw there a man who had not on a wedding-gar- 
 ment: and he said unto him, Friend, how earnest thou 
 in hither not having a wedding-garment? And he 
 was speechless. Then the king said to the servants, 
 Bind him hand and foot, and cast him out into the 
 outer darkness; there shall be the weeping and gnashing 
 of teeth. 'Matthew 22:11-43. 
 
 The fathomless, dominant gaze caught and held his 
 eyes. "Mr. Eaton, I came here to crush Ridgway. I 
 am going to stay here till I do. I'm going to wipe 
 him from the map of Montana ruin him so utterly that 
 he can never recover. It has been my painful duty to 
 do this with a hundred men as strong and as confi- 
 dent as he is. After undertaking such an enterprise, 
 I 'have never faltered a'nd never relented. The men I 
 have ruined were ruined beyond hope of recovery. 
 None of them have ever struggled to their feet again. 
 I intend to make Waring Ridgway a pauper. 
 
 Stephen Eaton could conceive nothing more merci- 
 less than the calm certainty of his unemphasized 
 words. William MacLeod Raine. 
 
 This feeling of hardness shows itself in the tense and 
 rigid condition of the whole body, as well as in the con- 
 
 [150] 
 
tracted muscles of the neck and throat. Indeed the hard- 
 ness in the mind acts upon the body and makes it rigid, 
 and this muscular contraction involuntarily influences the 
 vocal organs and makes the tones tense, harsh, and me- 
 tallic, 
 
 Caution is very needful here lest you rasp and strain 
 the delicate vocal organs, and produce rawness and hoarse- 
 ness. If your bearing be rigid, its tenseness will make 
 the voice sufficiently hard without any effort to contract 
 the neck muscles or rasp the cords. The attitude inclines 
 to antagonism. 
 
 Read Gradgrind's Idea of Education, (page 79) express- 
 ing the stern feeling without straining your voice. 
 
 EXERCISES 
 
 Describe exercise 38 so clearly that new students would 
 know how and why to practice it. 
 Lead the class. 
 
 [151] 
 
LESSON XLVIII 
 
 Awesome feeling is the emotion caused by vastness, 
 horror, solemnity, deep reverence, dread, or by a sense of 
 the presence of something superhuman. 
 
 Vastness or grandeur produces elevated feeling if it 
 exhilerates us, but if it weighs us down, or hushes us 
 with a sense of our own littleness, that is awesome feel- 
 ing. The speaker feels awed and overpowered, almost 
 stunned, he shrinks into himself, and lets his feelings ex- 
 press themselves as if he w r ere alone, rather than address- 
 ing others. His attitude naturally suggests recoil; his 
 voice is shut in and half smothered, it is a hollow reverb- 
 eration within tlie chest. We find passages with traces 
 of this awesome feeling more often than fully developed 
 examples of it. 
 
 .Jehovah is in his holy temple: let all the earth keep si- 
 lence before him. Habakkuk 2:29. 
 
 Shortly a Her Mr. Lincoln was shot, his cousin, Dennis 
 Hanks, was in his shop pegging away on a shoe, when 
 somebody stepped in and said: "Dennis, Honest Abe is 
 dead!" "Dead, dead, Old Abe dead! To strike him after 
 the war was over! I can't believe it!" 
 
 It happened one day, about noon, going towards my 
 boat, I was exceedingly surprised with the print of a 
 man's naked foot on the shore, which was very plain to 
 be seen in the sand. I stood like one thunderstruck, or as 
 if I had seen an apparition. I listened, I looked around 
 me, could hear nothing, nor see anything. I went up 
 to a rising ground, to look farther. I went up the shore, 
 and down the shore, but it was all one; I could see no 
 other impression but that one. I went to it again to 
 see if there were any more, and to observe if it might be 
 my fancy; but there was no room for that, for there was 
 exactly the very print of a foot, toes, heel and every 
 part of a foot. How it come thither I knew not, nor could 
 in the least imagine. But after innumerable fluttering 
 thoughts, like a man perfectly confused and out of my- 
 self. T came home to my fortification, not feeling, as we 
 say, thi 1 ground I went on, but terrified to the last degree, 
 looking behind me at every two or three steps, mistaking 
 every bush and tree, and fancying every stump at a dis- 
 
 [152] 
 
lance l,o bo a man; nor is it possible to describe how many 
 various shapes affrighted imagination represented thing to 
 me in, bow many wild ideas were found every moment in 
 my fancy, and what strange, unaccountable whimsies came 
 into my thoughts by the way. Robinson Crusoe. 
 
 While climbing the upper summits of the mountains 
 of Sinai, I was led by an Arab guide who was familiar 
 with every step of the perilous way. Finally we came to 
 the edge of a threatening precipice of granite, which sloped 
 away from our very feet far down to a yawning ravine of 
 jagged rocks below.. Closer and closer to that dizzy edge 
 lay our narrow path, until the path actually lost itself, at 
 a point where a jutting crag before us seemed to forbid 
 all passage, unless directly over the mad precipice itself. 
 And there my guide disappeared, for the moment. He had 
 swung around that crag, nnd was no\v above and beyond 
 the path he had left. 
 
 As I stood for a moment, with whirling brain, at that 
 appalling brink of death, I saw, just above and before me, 
 the w r iry feet of my trusty guide beyond that jutting crag; 
 and 1 heard his voice calling out cheerily: "Cling to my 
 feet, and swing yourself over the pass! I can hold you! 
 Have no fear!" 
 
 It was not a tempting thing to do. But it was that or 
 nothing. I caught at those sturdy ankles with a grip as 
 for my life! A moment's stay of breath! One spring along 
 the frightful edge! The crag and the chasm were passed, 
 and 1 aind my guide were together safe on the solid rock. 
 
 Henry Clay Trumbull. 
 
 Tn India, where magic is a recognized business, handed 
 down from father to son, there are thousands of jugglers. 
 They roam about the country playing their tricks, which 
 are in some cases more wonderful than the feats of civil- 
 ized magicians. The Indian juggler has no elaborate para- 
 phernalia. All his appliances are contained in a cotton 
 bag. He is nearly naked, and his stage is the .floor 9f a 
 verandah or the bare ground. Yet he performs such tricks 
 as the following: 
 
 The man took an oblong basket about two feet long, one 
 foot broad, and say a foot and a half high. He had a wo- 
 man with him, and this woman was bound hand and foot 
 with ropes, aind put into a net made of rope, which w y as 
 securely tied. She was then lifted and placed in the 
 basket on her knees. The whole of the woman's person, 
 from the loins upwards, was above the basket. 
 
 The woman bent her head: the juggler placed the lid 
 of the basket on her shoulders, and then threw a sheet 
 over the whole. In about a minute he pulled away the 
 sheet, folding it up in his hands, and behold! the lid was 
 in its proper place, and the woman was gone! 
 
 [153] 
 
The juggler now took a sword about five feet long, 
 and with it he pierced the basket through and through 
 in all directions, but there was no sign of any one inside. 
 He even removed the lid, jumped into the basket with his 
 feet, and danced in it. He now took the sheet, and after we 
 had examined it, spread it over the basket, holding it 
 tent-shaped, the apex where his hand was being about 
 three feet from the ground. In a minute he withdrew 
 the sheet, and behold! the woman was back in her 
 old position on her knees in the basket; but the ropes 
 and net had disappeared, and she was now unbound. 
 
 Our juggler showed us a parched skin which had once 
 belonged to a large cobra. We examined it, and were 
 sure it was a serpent's skin and nothing more. He placed 
 this skin in a circular straw basket about six inches deep. 
 The basket was likewise examined, and we found no 
 double bottom or any other peculiarity about it. 
 
 When he put the lid upon the basket, it contained 
 nothing but the empty skin. The wonderful sheet was 
 spread over the basket containing the dry skin. After the 
 performance of some mystic manoeuvres in the air with 
 a little wooden doll, the sheet was withdrawn, the lid re- 
 moved, and out of the basket arose a huge hissing cobra, 
 his hood spread in anger, and his forked tongue darting in 
 and out of his mouth. 
 
 Some native servants who were looking on fled; but the 
 juggler quickly took out an Indian musical instrument, 
 and began to play. A change came over the cobra; his 
 anger died away; he stood up with half of his body in a 
 perpendicular attitude, and began to sway to and fro in a 
 sort of serpent dance to the music. In a word, he was 
 charmed. 
 
 One juggler told a native servant, whom he did not 
 know, to stretch out his arm palm upwards. Into the 
 outstretched palm he placed a silver two-anna piece, and 
 holding out his own bony hand to show us that it was 
 empty he lifted the coin from the servant's hand, shut his 
 own fist, reopened it in the twinkling of an eye, and an 
 enormous black scorpion dropped into the servant's palm, 
 who fled, shrieking with terror. 
 
 "God of our fathers, known of old; 
 
 Lord of our far-flung battle line, 
 Beneath whose awful hand we hold 
 
 Dominion over palm and pine; 
 Lord God of Hosts, be with us yet, 
 Lest we forget lest we forget! 
 
 "The tumult and the shouting dies; 
 
 The captains and the kings depart; 
 Still stands Thine ancient Sacrifice, 
 
 An humble and a contrite heart. 
 [154] 
 
Lord God of Hosts, be with us yet, 
 Lest we forget lest we forget! 
 
 "Far-called our navies melt away; 
 
 On dune and headland sinks the fire; 
 Lo, all our pomp of yesterday 
 
 Is one with Nineveh and Tyre! 
 Judge of the Nations, spare us yet, 
 Lest we forget lest we forget! 
 
 "If, drunk with sight of power, we loose 
 Wild tqingues that have not Thee in awe; 
 
 Such boasting as the Gentiles use. 
 
 Or lesser breeds without the Law; 
 
 Lord God of Hosts, be with us yet, 
 
 Lest w r e forget lest we forget! 
 
 "For heathen heart that puts her trust 
 In reeking tube and iron shard, 
 
 All valiant dust that builds on dust, 
 
 And guarding calls not Thee to guard; 
 
 For frantic boast and foolish word, 
 
 Thy mercy on Thy people, Lord. 
 
 Rudyard Kipling. 
 
 [155] 
 
LESSON XLIX 
 
 The emotions studied in this lesson and the next are 
 often grouped together because they are all expressed by 
 Breath in ess. 
 
 The feeling- of Weariness or exhaustion, shows itself 
 in breathy tones (sometimes almost a sigh) because the 
 mind or body is loo tired to control the breathing in a 
 normal way; so the tones are mixed with outcoming 
 breath,- that is, you are exhaling while saying the words. 
 
 Old Adam says to Orlando: 
 
 Dear master, I can go no further: 0, 1 die for food! 
 Here lie I down and measure out my grave. Farewell 
 kind master. 
 
 Rosalind. O Jupiter, how weary are my spirits. 
 Touchstone. I care not for my spirits, if my legs were 
 not weary. 
 
 Sometimes the exhaustion is caused not by bodily ex- 
 ertion but by sutt'er ing or weariness of spirit. 
 
 O Ephriam, what shall 1 do unto thee? Judah, what 
 shall I do unto thee? for your goodness is as a morn- 
 ing cloud, and as the dew that goeth early away. 
 
 Hosea G:-i. 
 
 Shylock (at the (dose of the trial) says: I am not 
 well, 1 pray you give me leave to go from hence. 
 
 In the following selections, mark the passages that ex- 
 press Weariness; also any passages that express Genial, 
 Exalted, Stern or Awesome feelings. Enter into the spirit 
 of them, and read each with sympathy. 
 
 By land and sea I travelled wide; 
 
 "My thought the earth could span; 
 But wearily I turned and cried, 
 "0 little world of man!" 
 
 I wandered by a greenwood's side 
 
 The distance of a rod; 
 My eyes were opened, and I cried, 
 "0 mighty world of God!" 
 
 F. W. Bourdillon. 
 [156] 
 
DEATH OF PAUL DOMBEY 
 
 When the sunbeams struck into his room through the 
 rustling blinds, and quivered on the opposite wall, like 
 golden water, he knew that evening 1 was coming- on, and 
 that the sky was red and beautiful. As the reflection 
 died away, and a gloom went creeping up the wall, he 
 watched it deepen, deepen, deepen into night. Then he 
 thought how the long unseen streets were dotted with 
 lamps, and how the peaceful stars were shining overhead. 
 His fancy had a strange tendency to wander to the river, 
 which he knew was flowing through the great city; and 
 now he thought how black it was. and how deep it would 
 look refleetine the hosts of stars; and. more than all, how 
 steadily it rolled away to meet the sea. 
 
 "Floy! What is that?" 
 
 "Where, dearest?' 1 
 
 "There! at the bottom of the bed." 
 
 "There's nothing there, except papa!'' 
 
 The figure lifted up its head and rose, and, coming to 
 the bedside, said: 
 
 "My own boy! Don't, you know me?'' 
 
 Paul looked it in the face. Before he could reach 
 both his hands the figure turned away quickly from 
 little bed. and went out at the door. 
 
 The next time he observed the figure sitting at the 
 bottom of the bed, he called. 
 
 "Don't be so sorry for me, dear papa. Indeed, I am 
 quite happy!" 
 
 His father comincr and bending 1 down to him he held 
 him around the neck, and repeated these words to him 
 several times, and very earnestly: and he never saw his 
 father in his room again at any time, whether it were day 
 or night, but he called out, "Don't be so sorry for me! 
 Indeed, I am quite happy!" 
 
 How many times the golden water danced upon the 
 wall, hovv many nights the dark river rolled towards the 
 sea in spite of him, Paul never sought to know. 
 
 One night he had been thinking of his mother and her 
 picture in the drawing room down stairs. The train of 
 thought suggested to him to inquire if he had ever seen 
 his mother. For he could not remember whether they had 
 fold him yes or no; the river running very fast, and con- 
 fusing his mind. 
 
 "Floy, did I ever see mamma?" 
 
 "No. darling; why?" 
 
 "Did I never see any kind face, like mamma's, looking 
 at me when 1 wa.s a baby, Floy?" 
 
 "O yes. dear!" 
 
 "Whose, Floy?" 
 
 "Your old nurse's. Often." 
 
 [157] 
 
"And where is my old nurse? Show me that old nurse, 
 Floy, if you please!" 
 
 "She is not here, darling. She shall come tomorrow." 
 
 "Thank you, Floy!" 
 
 Little Domhey closed his eyes with these words, and 
 fell asleep. When he awoke, the sun was high, and the 
 broad day was clear and warm. Then he awoke, woke 
 mind and body, and sat upright in his bed. He saw them 
 now about him. There was no gray mist before them, as 
 there had been sometimes in the night. He knew them ev- 
 ery one, and called them by their names. 
 
 "And who is this? Is this my old nurse?" asked the 
 child, regarding, with a radiant smile, a figure coming i'n. 
 
 Yes, Yes. No other stranger would have shed those 
 tears at sight of him, and called him her dear boy, her 
 pretty boy, her own poor blighted child. No other woman 
 would have stooped down by his bed, and taken up his 
 wasted hand, and put it to her lips and breast, as one who 
 had some right to fondle it. No other woman would have 
 so forgotten everybody there but him and Floy, and been 
 so full of tenderness and pity. 
 
 "Floy! this is a kind, good face! I am glad to see it 
 again. Don't go away, old nurse. Stay here! Good by!" 
 
 "Good by, my child?" she cried, hurrying to his bed's 
 h^ad. "Not good by?" 
 
 "Ah yes! Good by! Where is papa?" 
 
 His father's breath was on his cheek before the words 
 had parted from his lips. The feeble hand waved i'n the 
 air, as if it cried "Good by!" aerain. 
 
 "Now lay me down; and, Floy come close to me, and 
 let me see you." 
 
 Sister and brother wound their arms around each 
 other, and the golden light came streaming in, and fell upon 
 them, locked together. 
 
 "How fast the river runs, between its green banks and 
 tho rushes, Floy! Bnt, it's very near the sea now. I hear 
 the waves! They always said so!" 
 
 Presently he told her that the motion of the boat upon 
 the stream was lulling him to rest. Now the boat was 
 out at sea. And now there was a shore before him. Who 
 stood on the bank! 
 
 "Mamma is like you, Floy. I know her by the face!" 
 
 The prolden ripple on the wall came back again, and 
 nothing else stirred in the room. The old, old fashion! 
 Th> lashion that came in with our first parents, and will 
 last unchanged until our race has run its course, and the 
 wide firmament is rolled up like a scroll. The old, old 
 fash ir n. Death! 
 
 O. thank God, all who see it. for that older fashion, yet, 
 o! Immortality! And look upon us, Angels of young chil- 
 dren, with your loving eyes when the swift river bears us 
 to the ocean. Charles Dickens. 
 
 [158] 
 
Another emotion that causes a similar breathless or 
 breathy condition is the feeling of Stealthiness. This 
 may arise from a sense of danger, which impels to secrecy 
 or from the impulse of caution. 
 
 In all of these the voice is subdued and has something 
 of the whispering quality; not so breathy as Weariness. 
 
 (Enter Ghost.) 
 
 Marcellus. Peace, break thee off; look where it 
 comes again! Hamlet 1:1, 40. 
 
 Cassius. Casca, be sudden for we fear prevention. 
 
 Julius Caesar 3:1,19. 
 
 Now Kitty, don't you tell anybody I've runned away. 
 
 As there are no ladies present, I may confess to about 
 seventy years myself. 
 
 Find examples of this feeling in the following, do not 
 expect a whole selection to be drenched in stealthiness. 
 It may affect only a few sentences, but we must be sure 
 of those. 
 
 After mastering the selections, read each artistically. 
 
 Most wild animals are specialists; that is to say, they 
 are highly developed in one particular direction. The tiger 
 is great as a stalker. His feet seem to be u shod with si- 
 lence." R. H. Elliot, for many years a resident of India, 
 cites an experience of ofte of his neighbors illustrative of 
 this point. 
 
 He had been much annoyed by tigers, and at last tied 
 a bullock out in a clearing and took up his own position 
 i'n a tree, to wait till the tiger should come after the bait. 
 The ground was covered with dried leaves, which in hot 
 weather are so brittle that even the walking of a bird over 
 them can be heard for a good distance,. 
 
 In no very long time a large tiger 'slipped out of the 
 forest, and slowly edged toward the bullock. His method 
 was so elaborate and careful that the man who saw it 
 used to declare that it would have been worth a thousand 
 rupees to any young sportsman to have witnessed it. 
 
 So carefully did he put down each paw, and so gradually 
 did he crush the leaves under it, that not a sound was to 
 be heard. Between. him and the bullock was a stump, about 
 four feet high, with long-projecting surface roots. 
 
 He got upon one of the roots, balanced himself care- 
 fully, and so was able to walk quickly and silently as far 
 as the stump. He approached so gradually and noiselessly, 
 
 [159] 
 
arid his color against the brown leaves was so invisible, 
 that he was close upon the bullock before he was per- 
 ceived. 
 
 Then instantly the bullock charged. The tiger eluded 
 him. and in a moment more had his paws on the bullock's 
 neck ready to drag him down. Then, like a flash, he caught 
 sight of the rope by which the bullock was tied, and turned 
 and sprang- into the forest, all so quickly that the man in 
 the tree had no opportunity to fire. 
 
 THE OLD-ROSE BLOUSE 
 
 Mrs. Chesley herself opened the door. 
 
 "I saw you coining," she explained. "Come up to my 
 room quick!" 
 
 With light footsteps, Mrs. Nelson followed. She admired 
 Mrs. Chesley's beauty and social charm, and was grateful 
 for her kindness to herself, a shy little bride in a strange 
 town. 
 
 "Oh!" Mrs. Nelson exclaimed, rapturously. "It's that 
 imported blouse from Suratt's. isn't it? It's perfectly 
 lovely !" 
 
 "I simply had to have it I couldn't go out another 
 afternoon in my old one. And. my dear, there is one in 
 old rose that you must have. It would exactly suit you!" 
 
 "But." Mrs. Nelson faltered, "I I couldn't! Jack is just 
 starting in, you know, and 
 
 Mrs. Chesley interrupted her with an amused laugh. 
 "I know all about that. Of course you wouldn't ask Jack. 
 He'd say. 'Why, what's t.lio matter with that blue gown 
 you got only a month or two aero?' Men never understand, 
 and you can't make them; but, my dear, there are other 
 ways'. 
 
 "Do you suppose I asked Charley for the money for this? 
 Not much! I got Mr. Hoover to lend me the money, and he 
 inst adds it to the month's trrocerv bill. Mr. Hoover gets 
 his money right back, I get my blouse, and everybody's 
 happy all through a little diplomacy. You needn't look 
 shocked, child; everybody does it." 
 
 "I oh, I couldn't!" Mrs. Nelson repeated. 
 
 Mrs. Chesley, whose good nature was one of her charms, 
 lauatied again. "All rierht," she said, "but just go and 
 look at that old rose. I'll rest my case on that. I'm sure 
 you'll sav it's a bargain vou have no risht to miss." 
 
 Mrs. Nelson had no intention of looking at the old rose, 
 vet somehow she found herself before Suratt's window. 
 There was no doubt about it the blouse was lovely. 
 Slowly, with flushing cheeks, she turned toward her 
 butcher's. 
 
 When she entered, the butcher was busy, and with 
 heavily boatintr hea.rt, she stood and waited. Suddenly 
 she turned and almost ran out of the shop, 
 
 [160] 
 
Jack came home early that night, and something in his 
 voice, as he called her, made her hurry dowta-stairs. 
 
 "What is it?" she cried. 
 
 "Just a hard day, litle girl a little harder than usual. 
 You wouldn't understand. But it was a stiff fight to keep 
 my hands clean. I was almost gone once, but I couldn't 
 stand it not to be able to look you square in the face. It 
 was your battle, Jess, though you never knew it." 
 
 Mrs. Nelson caught her breath. Suppose there had been 
 an old-rose blouse up-stairs? 
 
 [161] 
 
LESSON L 
 
 The hush of tenderness, or reverence, is less breathy 
 than stealthiness, and has a liquid quality of tone, rather 
 plaintive and sweet, but not sentimental or mushy. 
 
 Brutus just before the battle says to the sleeping boy: 
 
 If I do live, I will be good to thee. 
 
 I heard the trailing garments of the Night 
 Sweep through her marble halls! 
 
 I saw her sable skirts all fringed with light 
 From the celestial walls! 
 
 I felt her presence, by its spell of might, 
 
 Stoop o'er me from above; 
 The calm majestic presence of the Night, 
 
 As of the one I love. 
 
 Mr. and Mrs. Gladstone lived together nearly sixty 
 years. They were very affectionate, and their unconcealed 
 devotio'n to each other was delightful. 
 
 In her old age. Mrs. Gladstone had a little miniature of 
 herself painted which pleased Mr. Gladstone tremendously, 
 it was such a pleasant, charming little portrait. One day 
 one of the nephews was looking at it in Mrs. Gladstone's 
 absence, and said to Mr. Gladstone with rather a rude 
 ohuckle, "Good, very good; but don't you think it rather 
 flatters the old lady?" 
 
 Mr. Gladstone laid his hand on the young man's shoulder 
 and said: 
 - "My, boy, it is the truth beautifully told!" 
 
 Once when Abraham Lincoln was visiting an army hos- 
 pital, he came to the bedside of a Vermont boy of about six- 
 teen years of age, who was mortally wounded. Taking the 
 dying boy's thin, white hand in his own, the President 
 said, in a tender tone, "Well, my poor boy, what can I do 
 for you?" The young fellow looked up into the President's 
 kindly face, and asked, "Won't you write to my mother 
 for me." "That I will," answered Mr. Lincoln; and calling: 
 for a pen, ink. and paper, he seated himself by the side of 
 the bed., and wrote from the boy's dictation. It was a long 
 letter, but the President betrayed no sign of weariness. 
 When it was finished, he rose, saying: "I will post this as 
 soon as I get back to my office. Now, is there anything 
 else I can do for you?" The boy looked up appealingly 
 
 [162] 
 
to the President. "Won't you stay with me?" he asked. 
 "I do want to hold on to your hand." Mr. Lincoln at once 
 perceived the lad's meaning. The appeal was too strong 
 for him to resist, so he sat down and took the boy's hand. 
 For two hours the President sat there patiently as though 
 he had been the boy's father. When the end came, he bent 
 over and folded the thin hands upon his breast. As he 
 did so, he burst into tears, and left the hospital. 
 
 Another feeling that shows itself by breathiness of 
 voice is very different from the others. Fierceness, or any 
 intensity of feeli'ng, shows the speaker's lack of self control 
 in hurried words and uncontrolled breath. His intensity 
 pushes and sweeps the words out. 
 
 And darest thou, then, 
 To beard the lion in his den 
 The Douglas in his hall? 
 
 If I can catch him once upon the hip, 
 I will feed fat the ancient grudge T bear him. 
 He hates our sacred nation, and he rails 
 On me, my bargains, and my well-won thrift 
 Which he calls interest. Cursed be my tribe 
 If I forgive him. 
 
 Mark the kinds of emotion in these passages. 
 
 As the royal hunting party rode gaily across the draw- 
 bridge from the castle a woman flung herself before the 
 King, clinging to his stirrup. She was old, evidently a 
 peasant, for her garments were in rags. 
 
 "Justice, Sire, Justice!" she cried with passionate 
 iteration. 
 
 "It shall be yours. Who has wronged you?" asked the 
 King. 
 
 "Baron Magnus. He has ruined my daughter and slain 
 my son." 
 
 Magnus rode forward with a muttered oath, at the 
 same time freeing his foot from a stirrup that he might 
 use the iron as a weapon. As the Baron raised to strike, 
 the King brought the loaded end of his heavy ridimg whip 
 down on the bare wrist of Magnus. 
 
 "A lesson, my Lord, which you have long needed. The 
 King allows no interference between himself and his sub- 
 jects," cried the young man. 
 
 The Baron fell back purple with rage, his hand groping 
 for the sword his fingers were too numb to draw. 
 
 "This to me! Were you thrice a king I should have 
 blood for it." 
 
 "He threatens treason," cried the Ki'ng sharply, "Disarm 
 him! Bind him!" 
 
 [163] 
 
"There does not live the man that dares touch me," 
 cried Magnus, his heavy teeth set, the veins ill his temples 
 arid forehead swelling like muscles. 
 
 "Disarm him!" cried the King- again. 
 
 But no man moved, for it was well known that Magnus 
 had a long memory to treasure an affront, and that in the 
 end he would pay the debt with heavy interest. The King 
 leaped from his horse and stepped toward the raging Baron. 
 A dozen knights, shamed to action by the unwonted reso- 
 lution of their King, flung themselves on Baron Magnus 
 and disarmed him, in spite of his lierce struggles. 
 
 "We will back to the castle and hear the woman's case 
 now," said the King quietly. 
 
 "Indeed, Sire, these futile fits and moods are not con- 
 ducive to the strengthening of your power," said Car- 
 risdale in a low voice to the Kfiig. "You see it ends in 
 talk." 
 
 "It has not ended yet," said the King, correcting him 
 silkily. 
 
 Carrisdale started and looked at him sharply. 
 
 "Meanwhile there are other charges waiting for a hear- 
 ing gainst you. Baron Magnus charges of sacrilege, pil- 
 lage and murder," continued the King. 
 
 "Let them wait. I have no mind to answer them now," 
 answered the sulky Baron roughly, gazing defiantly at his 
 feudal lord. 
 
 The King eyed him lazily from head to foot, and as he 
 looked there came over the assembly a feeling of tense 
 expectation, a subtle sense of great events impending. 
 
 "Baron Magnus, you are a bold villain. You have 
 broken all laws of God and man. In all your life I know of 
 no good deed you have done. But the end has come. It is 
 our will that you be taken into the courtyard and there, 
 at the expiration of one hour granted for the benefit of 
 your guilty soul, be duly executed for the expiation of 
 your many and heinous crimes." 
 
 The silence was painful as the King finished. Mag- 
 nus went white, them red. He broke into a roar of anger 
 cursing, threatening, raging. When coherency of speech 
 came to him he screamed: 
 
 "You think to play your tricks and frighten me, you 
 baby king. Name of the devil, I will pull your kingdom 
 about your ears. I can raise tc'n thousand me;n in three 
 hours." 
 
 "It will be two hours too late to avail you," said the 
 King calmly. 
 
 The Earl of Carrisdale could scarce believe his ears 
 and eyes. 
 
 "What means your Majesty? Art mad? He has had no 
 trial, and he is a noble of the realm. We will not allow 
 it. He has done no more than others -no more than I 
 myself," he cried sternly. 
 
 [164] 
 
"I had >.not finished,'* answered the King. "We recog- 
 ni/e your claims to our attention, my Lord of Garrisdale. 
 We have no mind to neglect you. It is our 1'ui'ther will 
 that you, Hie-hard Alwyn, Earl of Carrisdale, he likewise 
 and at the same time executed by having your head 
 stricken from your body. I give you as fair a trial as 
 you gave the old man you hanged, or Magnus gave the 
 boy he butchered. They were your vassals; you are 
 mine." 
 
 "You dare mot! You dare not!" cried Carrisdale, white 
 with fear and anger. "Your nobles will not stand by and 
 see it." 
 
 The King swept his sword from its sheath, facing the 
 assembled nobles. 
 
 "Dare I not?" he cried, his eyes glittering fiercely, his 
 voice for the first time stern and ringing. "Dare I not, 
 Richard Alwyn? You shall see. Who among you, my 
 vassals, would step between your King and his righteous 
 anger, between your king and these condemned traitors?" 
 He paused for a moment but no man moved. Then he con- 
 tinued: "It is well. I execute you both for a pair of false, 
 clumsy knaves. You have in my name done deeds which 
 would shame the devil. You thought me weak and a fool. 
 Today your cup is full, and too late you learn your mis- 
 take. William McLeod Raine. 
 
 [165J 
 
LESSON LI 
 
 Agitated feeling may be the result of either merri- 
 ment or grief. 
 
 All gladness does not produce agitation of mind, neither 
 does all sorrow. But when either joy or sorrow is strong 
 enough to agitate the mind, the expression of it belongs 
 to this class. When the mind is thus agitated by strong 
 emotion, the nerves aind flesh are tremulous, and the voice 
 quavers. The attempt to imitate these deep feelings by a 
 shaking voice disgusts us. You must get into the spirit 
 of the emotion by genuine sympathy, careful paraphrase 
 and vivid imagination. Then under the mind's influence, 
 the whole body will be in a jelly-like quiver, and involun- 
 tarily the voice will have a delicate trembling. 
 
 Oh, Mother, look, it's snowing. Hurrah, we'll play snow- 
 balls, and make a snow man, and go coasting, can we 
 mother? oh, say yes quick! 
 
 Break, break, break, 
 
 On thy cold gray stones, Sea! 
 And I would that my tongue could utter 
 
 The thoughts that arise in me. 
 
 well for the fisherman's boy, 
 That he shouts with his sister at play! 
 
 well for the sailor lad, 
 
 That he sings in his boat on the bay! 
 
 And the stately ships go on 
 
 To their haven under the hill; 
 But for the touch of a yanish'd hand. 
 
 And the sound of a voice that is still! 
 
 Break, break, break, 
 
 At the foot of thy crags, Sea! 
 But the tender grace of a day that is dead 
 
 Will never come back to me. 
 
 Tennyson. 
 
 Mark the passages that show Agitated feeling. 
 
 Mark also any passages that show Genial, Exalted, 
 Stern or Awesome feelings. 
 
 [166] 
 
THE CHRISTMAS DINNER 
 
 The good Spirit led him straight to Scrooge's clerk's; 
 and on the threshold of the door the Spirit smiled, and 
 stopped to bless Bob Cratchit's dwelling with the sprinkl- 
 ings of his torch. 
 
 Then up rose Mrs. Cratchit, Cratchit's wife, dressed 
 out but poorly in a twice turned gown, but brave in rib- 
 bons, which are cheap and make a goodly show for six- 
 pence; and she laid the cloth, assisted by Beli'nda Cratch it, 
 second of her daughters, also brave in ribbons; while 
 Master Peter Cratchit plunged a fork into the saucepan of 
 potatoes. And now two smaller Cratchits, boy and girl, 
 came tearing in, screamimg that outside the baker's they 
 had smelt the goose, alnd known it for their own; and 
 basking in luxurious thoughts of sage and onion, these 
 young Cratchits danced about the table. 
 
 "What has ever got your precious father then?" said 
 Mrs. Cratchit. "And your brother, Tiny Tim! And Martha 
 warn't as late last Christmas Day by half-an-hour?" 
 
 "Here's Martha, Mother!" said a girl, appearing as 
 she spoke. 
 
 "Here's Martha, Mother!" cried the two young Cratch- 
 its. "Hurrah! There's such a goose, Martha." 
 
 "Why, bless your heart alive, my dear, how late you 
 are!" said Mrs. Cratchit, kissing her a dozen times, and 
 taking off her shawl and bonnet for her with officious zeal. 
 
 "We'd a deal of work to finish up last night," replied 
 the girl, "and had to clear away this morning, mother!" 
 
 "Well! Never mind so long as you are come," said 
 Mrs. Cratchit. "Sit ye down before the fire, my dear, and 
 have a warm, Lord bless ye!" 
 
 "No, no! There's father coming," cried the two young 
 Cratchits, who were everywhere at once. "Hide, Martha, 
 hide!" 
 
 "So Martha hid herself, and in came little Bob, the 
 father, with at least three feet of comforter exclusive of 
 the fringe, hanging down before him; and his threadbare 
 clothes darned up and brushed, to look seasonable; and 
 Tiny Tim upon his shoulder. Alas for Tiny Tim, he bore 
 a little crutch, and had his limbs supported by an iron 
 frame! 
 
 "Why, where's our Martha?" cried Bob Cratchit, look- 
 ing round. "Not coming upon Christmas Day!" 
 
 Martha didn't like to see him disappointed, if it were 
 only in joke; so she came out prematurely from behind 
 the closet door, and ran into his arms, while the two 
 young Cratchits hustled Tiny Tim, and bore him off into 
 the wash-house, that he might hear the pudding singing 
 in the copper. 
 
 "And how did little Tim behave?" asked Mrs. Cratch- 
 it. when Bob had hugged his daughter to his heart's con- 
 tent. 
 
 [167] 
 
"As good as gold," said Bob, "and better. Somehow he 
 pots thoughtful sitting by himself so much, and thinks the 
 strangest things you ever heard. He told me, coming home, 
 that he hoped the people saw him in the church, because 
 he was a cripple, and it might be pleasant to them to 
 remember upon Christmas Day, who made lame beggars 
 walk, and blind men see." 
 
 Bob's voice was tremulous when he told them this, 
 and trembled more when he said that Tiny Tim was 
 growing strong and hearty. 
 
 His active little crutch was heard upon the floor, and 
 back came Tiny Tim before another word \vas spoken, 
 escorted by his brother and sister to his stool before the 
 fire; and Master Peter, and the two ubiquitous young 
 Oratchits went to fetch the goose, with which they soon 
 returned in high procession. 
 
 Mrs. Cratchit made the gravy (ready beforehand in a 
 little saucepan^ hissing hot; Master Peter mashed the po- 
 tatoes with incredible vigor; Miss Belinda sweetened up 
 the apple-sauce; Martha dusted the hot plates; Bob 
 took Tiny Tim beside him in a tiny corner at the table; 
 the two young Cratchits set chairs for everybody, not for- 
 getting themselves, and crammed spoons into their mouths, 
 lest they should shriek for goose before their turn came 
 to be helped. At last the dishes were set on, and grace 
 was said. It was succeeded by a breathless pause, as 
 Mrs. Cratchit, looking slowly along the carving-knife, 
 prepared to plunge it in the breast; but when she did, 
 and when the long expected gush of stuffing issued forth, 
 one murmur of delight arose all around the board, and 
 even Tiny Tim, excited by the t\yo young Cratchits, beat 
 on the table with the handle of his knife, and feebly cried 
 Hurrah! 
 
 There never was such a goose. Bob said he didn't be- 
 lieve there ever was such a goose cooked. Its tenderness 
 and flavor, size and cheapness, were the themes of uni- 
 versal admiration. Eked out by apple-sauce and mashed 
 potatoes, it was a sufficient dinner for the whole family; 
 indeed, as Mrs. Cratchit said with great delight (survey- 
 ing one small atom of the bone upon the dish), they hadn't 
 ate it all at last! Yet every one had had enough, and the 
 youngest Cratchits in particular, were steeped in sage and 
 onion to the eyebrows! But now the plates being changed 
 by Miss Belinda, Mrs. Cratchit left the room alone too 
 nervous to bear witnesses to take the pudding up and 
 bring it in. 
 
 Suppose it should not be done enough! Suppose it 
 should break in turning out! Suppose somebody should 
 have got over the wall of the back-yard, and stolen it, 
 while they were merry with the goose a supposition at 
 which the two young Cratchits became livid! All sorts of 
 horrors were supposed. 
 
 [168] 
 
Hallo! A great deal of steam! The pudding was out 
 of the copper. A smell like a washing-day! That was 
 the cloth. A smell like an eating-house and a pastry- 
 cook's next door to each other, with a laundress' next 
 door to that! That was the pudding! In half a minute 
 Mrs. Cratchit entered flushed but smiling proudly with 
 the pudding, like a speckled cannon-ball so hard and firm, 
 blazing in half of half a-quartern of ignited brandy, and 
 bedight with Christmas holly stuck into the top. 
 
 Oh, a wonderful pudding! Bob Gratchit said, and 
 calmly, too, th.at he regarded it as the greatest success 
 achieved by Mrs. Cratchit since their marriage. Mrs. 
 Cratchit said that now the weight was off her mind, she 
 would confess she had her doubts about the quantity of 
 flour. Everybody had something to say about it, but no- 
 body said or thought it was a small pudding for a large 
 family. It would have been flat heresy to do so. Any 
 Cratchit would have blushed to hint at such a thing. 
 
 At last the dinner was all done, the cloth was cleared, 
 the hearth swept, and the fire made up. Apples and 
 oranges were put upon the table, and a shovelful of chest- 
 nuts on the fire. Then all the Cratchit family drew 
 around the hearth. 
 
 "A merry Christmas to us all, my dears. God bless 
 us!" 
 
 Which all the family re-echoed. 
 
 "God bless us every one!" said Tiny Tim, the last of 
 all. > Charles Dickens. 
 
 "Yo-ho, my boys!" said Fezziwig; "no more work to- 
 night, Christmas Eve, Dick! Christmas, Ebenezer! Let's 
 have the shutters up before a man can say Jack Robinson! 
 Clear away, my lads, and let's have lots of room here!" 
 
 Clear away! There was nothing they wouldn't have 
 done, or couldn't have done, with old Fezziwig standing by. 
 It was done in a minute. Every movable was packed off as 
 if it were dismissed from public life forevermore. The 
 floor was swept and watered, lamps were trimmed, fuel 
 was heaped upon the fire, a-nd the warehouse was as snug 
 and warm and dry and bright a ball-room as you could 
 desire to see upon a winter night. In came a fiddler with 
 a music-book and walked up to the lofty desk and made an 
 orchestra of it, and tuned like fifty stomach-aches. In 
 came Mrs. Fezziwig, one vast, substantial smile. In came the 
 two Miss Fezziwigs, beaming and amiable. In came the six 
 young followers, whose hea.rts they broke. In came all 
 the young men and women employed in the business. In 
 came the housemaid with her cousin, the baker. In came 
 the cook with her brother's particular friend, the milk- 
 man. In they all came anyhow and everyhow! Away they 
 all went, twenty couples at once, hands half round and 
 
 [169] 
 
hack again the other way, up the middle and down again, 
 round in various stages of affectionate grouping; old top 
 couple always turning up at the wrong place, new top 
 couple starting off again as soon as they got there, all top 
 couples at last with not a bottom one to help them. 
 
 When this result was brought about old Fezziwig, clap- 
 ping his hands to stop the dance, cried out, "Well done!" 
 and the fiddler plunged his hot face into a pot of porter, 
 specially provided for that purpose. And there were more 
 dances, and then there were forfeits, and then there were 
 more dances, and there was cake and there was negus, and 
 there was a great piece of cold roast, and there was a great 
 piece of cold boiled, and there were mince pies and 
 plenty of beer. But the great effect of the evening came 
 after the roast and boiled, when the fiddler struck up "Sir 
 Roger de Coverly!" Then old Fezziwig stood out to dance 
 with Mrs. Fezziwig, top couple too with a good stiff piece 
 of work cut out for them, three or four and twenty pairs 
 of partners, people who were not to be trifled with, people 
 who would dance and had no notion of walking. 
 
 But if there had been twice as many, or four times as 
 many, old Fezziwig would have been a match for them, 
 and so would Mrs. Fezziwig. As for her, she was worthy 
 of being his partner in every sense of the term. A posi- 
 tive light appeared to issue from Fezziwig's calves, they 
 shone in every part of the dance. You couldn't have pre- 
 dicted at any given moment where they would have turned 
 up next, and when old Fezziwig and Mrs. Fezziwig had 
 been all through the dance, advance and retire, turn your 
 partner, bow and curtsey, corkscrew, thread the needle 
 and back again to your own place, Fezziwig cut, cut so 
 deftly that he appeared to wink with his legs. At eleven 
 o'clock the domestic ball broke up. Then old Fezziwig and 
 Mrs. Fezziwig stood one on either side of the door, and 
 shaking hands with each of their guests individually as 
 he or she 'went out, wished him or her "A Merry Christ- 
 mas!" Charles Dickens. 
 
 [170] 
 
LESSON LII 
 
 Mark the kinds of feeling ifo these passages. 
 Make them your own, and read them with alert re- 
 sponsiveness, and the power of genuineness. 
 
 JOSEPH MEETS BENJAMIN 
 
 And Joseph's ten brethren went down to buy grain 
 from Egypt. And Joseph was the governor of the land. 
 And Joseph knew his brethren, but they knew not him. 
 And he said, Ye are spies, to see the 'nakedness of the land 
 ye are come. And they said unto him, Nay, my lord, but 
 to buy food are thy servants come. We are all one man's 
 sons; we are true men, thy servants are no spies. And he 
 said unto them, Nay but to see the nakedness of the land 
 ye are come. And they said, We thy servants are twelve 
 brethren, the sons of one man in the land of Canaan; and 
 behold the youngest is this day with his father, and one 
 is not. And Joseph said, If ye be true men let one of your 
 brethren be bound in the prison-house; but go ye, carry 
 grain for the famine of your houses; and bring your young- 
 est brother unto me; so shall your words be verified and 
 ye shall not die. And he took Simeon from among them, 
 and bound him, and they departed thence. 
 
 And the famine was sore in the land. And it came to 
 pass, when they had eaten up the grain which they had 
 brought out of Egypt, their father said unto them, Go 
 again, buy us a little food. And Judah spake unto him 
 saying, The man did solemnly protest unto us saying, Ye 
 shall not see my face, except your brother be with you. If 
 thou wilt send our brother with us we will go down and 
 buy thee food. And their father Israel said, If it be so, 
 take your brother, and the Almighty God give you mercy 
 before the man. And they took a present, and double 
 money, and Benjamin, and went down to Egypt. 
 
 And Joseph said to his steward, Make ready, for the 
 men shall dine with me at (noon. And the men were afraid 
 because they were brought to Joseph's house. And when 
 Joseph came home they brought him the present, and 
 bowed themselves to him to the earth. . And he asked 
 them of their welfare, and said, Is your father well, the 
 old man of whom ye spake? Is he yet alive? And they 
 said, Thy servant pur father is well. And he lifted up his 
 eyes and saw Benjamrn his brother, his mother's son, and 
 said, Is this your youngest brother, of whom ye spake 
 unto me? And he said, God be gracious unto thee, my 
 son. And Joseph made haste; for his heart yearned over 
 his brother; and he sought where to weep, and he entered 
 into his chamber and wept there. Genesis 42-43. 
 
 [171] 
 
THE KINDNESS OF BOAZ 
 
 Then said Boaz unto Ruth, Hearest them not, my daugh- 
 ter? Go not to glean in another field, neither pass from 
 hence, but abide here fast by my maidens. Let thine eyeo 
 be on the field that they do reap, and go thou after them; 
 have I not charged the young men that they shall not 
 touch thee? and when thou art athirst, go unto the ves- 
 sels and drink of that which the young men have drawn. 
 Then she fell dn her face, and bowed herself to the 
 ground, and snid unto him, Why have I found favor in 
 thy sight, that thou shouldst take knowledge of me, seeing 
 
 I am a foreigner? And Boaz answered and said unto her, 
 
 II hath fully been showed me, nil that thou hast done unto 
 thy mother-in-law since the death of thy husband; and 
 how thou hast left thy father and thy mother, and the 
 land of thy nativity, and art come unto a people that thou 
 knowest not heretofore. Jehovah recompense thy work. 
 a!nd a full reward be given thee of Jehovah the God of 
 Israel, under whose wine's thou art come to take refuge. 
 
 Ruth 2. 
 
 There I he wicked cease from troubling; 
 
 And there the weary are. at rest, 
 There the prisoners are at ease together; 
 
 They hear not the voice of the taskmaster. 
 The small and great 'are there; 
 And the servant is free from his master. 
 
 Job 3:17-19. 
 
 O'Connell had, what so few American speakers have, a 
 voice that sounded the gamut. I heard him once in Exeter 
 Hall say, "Americans, T send my voice careering like the 
 thunderstorm across the Atlantic, to tell South Carolina 
 that God's thunderbolts are hot, and to remind the negro 
 that the dawn of his redemption is drawing near, 1 ' and I 
 seemed to hear his voice reverberating and re-echoing 
 back to London from the Rocky Mountains. 
 
 And then with the slightest possible flavor of an Irish 
 brogue, he would tell a story that would make all Exeter 
 Hall laugh, and the next moment there were tears in 
 his voice, like an old song, and live thousand men would be 
 in tears. 
 
 ''Oh, our manhood's prime vigor! No spirit feels waste, 
 Not a muscle is stopped in its playing nor sinew unbraced. 
 Oh, the wild joys of living! the leaping from rock up to 
 
 rock. 
 The strong rending of boughs from the fir-tree, the cool 
 
 silver shock 
 Of the plunge in a pool's living water, the hunt of the 
 
 bear, 
 And the sultriness showing the lion is couched in his 
 
 lair. 
 
 [172] 
 
And the meal, the rich dates yellowed over with gold 
 
 dust divtae, 
 And the locust-flesh steeped in the pitcher, the full draught 
 
 of wine, 
 And the sleep in the dried river-channel where bulrushes 
 
 tell 
 
 That the water was wont to go warbling so softly and well. 
 How good is man's life, the mere living! how lit to employ 
 All the heart and the soul and the senses for ever in 
 
 joy! 
 
 Browning. 
 
 Make a joyful noise unto Jehovah all ye lands. 
 Serve Jehovah with gladness: 
 Come before his presence with singing. 
 
 Know ye that Jehovah, he is God: 
 
 It is he that hath made us, and we are his; 
 We are his people, and the sheep of his pasture. 
 
 Enter into his gates with thanksgiving, 
 And into his courts with praise: 
 Give thanks unto him, and bless his name. 
 
 For Jehovah is good; 
 
 His loving kindness endureth forever, 
 And his faithfulness unto all generations. 
 
 Psalm 100. 
 
 Come all ye jolly shepherds, 
 
 That whistle through the glen! 
 I'll tell ye o' a secret 
 
 That courtiers dinna ken: 
 What is the greatest bliss 
 
 That the tongue o' man can name? 
 Tis to woo a bontiie lassie 
 
 When the kye come hame. 
 
 James Hogg. 
 
 The best he could hope for was dismissal. To be allowed 
 to go out of the office alone, disgraced, branded, this 
 would b;e a mercy and forbearance. 
 
 Waiting in the anteroom until the senior partner should 
 be ready for him, George Hanbury clenched his fists till 
 the palms bled under his nails. He was ready to face his 
 doom and take what he had earned, if he could have but 
 taken it alone. Since the discovery of his defalcations 
 had become inevitable, and during the awful two days that 
 had elapsed since the discovery itself Jd taken place, he 
 had realized, blindingly, the responsibility for the happi- 
 ness of others which depends upon every man. His father, 
 his mother, his brothers and sisters! This struck at 
 them all; this was aimed at their home, at the complete- 
 ness of their lives and the root of their self-respect and 
 happiness. His head swam as the picture of their misery, 
 when the news should reach them, took shape in his 
 mind. 
 
 [173] 
 
Alone he could have borne it. He had himself in a 
 tight hold. Two days before the manager had sent for 
 him, and he found him with certain books open on his 
 desk. 
 
 "Can you explain this?" the manager had asked, point- 
 ing to a page. 
 
 Hanbury looked and knew at once that the blow had 
 fallen. 
 
 "No, sir, 1 ' he answered, quietly. 
 
 "Nothing to say?" queried the manager, closing the 
 volume. 
 
 "Nothing at all," was the quiet answer. 
 
 "Very well," said the other. "Mr. Burns will have to 
 hear of this. Go back to your work." 
 
 Then elapsed two days of terrible punishment. His 
 fellows among the clerks knew nothing, and it cost a 
 strong effort to keep a calm face in their midst and to es- 
 cape remark. He was awaiting sentence from Mr. Burns, 
 who came down to the office only occasionally, and whose 
 remoteness from the daily life of the business seemed to 
 Hanbury to add another terror to his position. 
 
 The door of the inner office clicked, and the manager 
 came out. Hanbury rose to his feet, biting his lip. The 
 manager looked at him gravely. 
 
 "Go in," he said. 
 
 Hanbury entered. Old William Burns was sitting at 
 a table. He was an old man, white-haired, with a chm 
 and check hidden in a fluff of white beard. Keen gray 
 eyes looked out from under heavy brows; his face bespoke 
 strength and resolution, but there was nothing of harsh- 
 ness in it. It was grave now, and perhaps sad; but not 
 hard nor vindictive. 
 
 They looked at one another in silence for a moment, 
 the strong old man who had succeeded, and the young man 
 who had failed. 
 
 "I have beeh hearing details of an embezzlement which 
 you have committed," said the old man, slowly. There 
 was a country burr in his voice; Hanbury noted it with 
 an odd sense of having expected it. "I understand you 
 make no defence." 
 
 Hanbury found his voice with an effort. "None, sir," 
 he answered. 
 
 "And you know what you have incurred by this crime ?*' 
 
 Hanbury nodded, gulping. 
 
 "Very well," sai<%Lhe senior partner, rising and speak- 
 ing very gently, "if you know that we will not say anything 
 more about it. I shall not send you to prison." 
 
 He waited for Hanbury to speak, but the young man 
 could say nothing. 
 
 "If I permit you to return to your work, and to gradu- 
 ally refund the money you have misappropriated, shall I 
 be safe?" 
 
 [174] 
 
The clerk started and looked up. Old William Burns 
 was watching him wistfully. "Sir," Stammered the young 
 man, "I promise I swear His voice failed him, and 
 he struggled with rising emotion. 
 
 "Very well, we will consider that arranged. No word 
 of it will be said again by any one." 
 
 He held out his hand arid Hanbury grasped it feverishly. 
 
 "You are the second man who fell and was pardoned 
 in this business, Mr. Hanbury," said the old man in a low 
 tone. "I was the first. What you have done, I did. The 
 mercy you have received, I received. God help us all." 
 
 They shook hands upon it, the two men who had been 
 spared. The British Weekly. 
 
 [175] 
 
LESSON LIII 
 
 Do you notice what a large proportion of human speech 
 is more or less saturated with emotion? Almost every 
 utterance that is worth while is at least tinged with some 
 feeling. The following passages are not taken from great 
 orations or dramas, where we expect expression of strong 
 emotion; they are bits from comman human experience, 
 taken mostly from the newspapers. Analyze, paraphrase 
 and read them. 
 
 Did you ever see a dandy fisherman? He has the cor- 
 rect suit on, his pole is a beauty from Conroy's, his line 
 is of the best silk, his book is full of artificial flies, 
 plenty of artificial flies, his fish-basket hangs behind 
 him; and he is a fishermaki. May be. Let us go to the 
 stream. Standing with a knowing air, he throws his fly; 
 but the lish do not rise at it; and he throws again, and 
 again, and they do not rise. And all the while, a barefooted, 
 coatless boy on the other side of the brook is catching 
 fish as fast as he can pull them in. He has Just a rough 
 hook on a bit of string, and a worm for bait, but he gets 
 the lish. Henry Ward Beecher. 
 
 George G. Lake, the benevolent merchant of New York, 
 used to be an errand-boy of the old-fashioned kind, one who 
 received two dollars a week wages, slept under the counter 
 of the store, and lived chiefly on crackers and cheese. But 
 he was a good boy, attended to business, and made friends. 
 In a year or two he obtained a better place, in a better 
 store, where he advanced rapidly from one post to an- 
 other until at nineteen he was placed in charge of the 
 silk department. 
 
 Salaries at that period were so small, that he thought 
 himself lucky in getting four hundred dollars a year, and 
 he eingaged to remain for four years in the service of the 
 firm at that rate of wages. 
 
 As head of the silk counters he had frequently to visit 
 a great importing house to buy silks for his own firm, and 
 there he attracted notice by his excellent taste in selecting 
 silks, and his sound judgment as to what patterns would 
 be likely to please customers. 
 
 One day he was asked to step into the counting-room 
 of the importing house, where one of the partners invited 
 him to enter their service at a thousand dollars the first 
 year, two thousand the second, and three thousand after- 
 wards. The young man replied that he had just made a 
 
 [176] 
 
contract with his employers for four years at eight dollars 
 a week. 
 
 "That contract was only verbal, I suppose," said the 
 merchant. 
 
 "I don't break contracts," replied the clerk, "whether 
 verbal or not." 
 
 So he went back to his silks in the old store, and to his 
 eight dollars a week. He served out his four years faith- 
 fully. At the end of the period he had made himself in- 
 dispensable to his employers, who offered him ten thous- 
 and dollars a year or a partnership. He chose the salary, 
 and, after some years, entered the firm, of which in due 
 time, by the retirement of his partners, he became the head. 
 
 Notice how many facts are presented in these dozen 
 lines, yet these facts would be unimportant if the lines 
 \\ere not filled with deep feeling. 
 
 MEETING AT NIGHT 
 
 The gray sea and the long black land; 
 
 And the yellow half-moon, large and low; 
 And the startled little waves that leap 
 In fiery ringlets from their sleep, 
 
 As I gain the cove with pushing prow, 
 
 And quench its speed in the slushy sand. 
 
 Then a mile of warm, sea-scented beach; 
 
 Three fields to cross till a farm appears; 
 A tap at the pane, the quick, sharp scratch 
 And blue spurt of a lighted match, 
 
 And a voice less loud, thro' its joys and fears, 
 
 Than the two hearts beating each to each! 
 
 Browning. 
 
 Thirty years ago, a barefooted ragged urchin presented 
 himself before the desk of the principal partner of a firm 
 in Glasgow and asked for work as errand boy. 
 
 "There's a deal o' rinning to be dune," said the man. 
 "Your first qualification wud be a pair of shoon." The 
 boy, with a grave nod, disappeared. He lived by doing odd 
 jobs in the market, and slept under one of the stalls. Two 
 months passed before he had saved enough money to buy 
 the shoes. Then he presented himself before Mr. Blank 
 one morning and held out a package. 
 
 "I hae the shoon," he said quickly. 
 
 "Oh," said the employer, with difficulty recalling the 
 circumstances. "You want a place? Not in those rags, my 
 lad; you would disgrace the house." 
 
 The boy hesitated a moment, and then went out with- 
 out a word. Six months passed before he returned, de- 
 cently clothed in coarse but new garments. Mr. Blank's in- 
 terest was aroused. For the first time he looked at the boy 
 
 [177] 
 
attentively. His thin, bloodless face showed that he had 
 stinted himself of food for months in order to buy these 
 clothes. The manufacturer now questioned the boy closely, 
 and found, to his regret, that he could neither read nor 
 write. 
 
 "It is necessary that you should do both before we 
 could employ you to carry packages, 1 ' he said. "We have 
 no place for you." 
 
 The lad's face grew paler, but without a word of com- 
 plaint he disappeared. He now went fifteen miles into the 
 country, and found work in stables near to a night-school. 
 At the end of a year he again presented himself. 
 
 "I can read and write," he said briefly. 
 
 "I gave him the place," the employer said, "with the 
 conviction that in process of time he would take mine if 
 he made up his mind to do it. Men rise slowly in Scotch 
 business houses, but he is now our chief foreman." 
 
 "Oh, yes, I have all kinds of tenants," said a kind-faced 
 old gentleman; "but the one I like the best is a child not 
 more than ten years of age. A few years ago I got a 
 chance to buy a piece of land over on the West Side, and 
 did so. 1 noticed that there was an old coop of a house on 
 it, but paid no attention to it. After awhile a man came 
 to me and wanted to know if I would rent it to him. 
 
 ' 'What do you want it for?' said I. 
 
 ' 'To live in," he replied. 
 
 ' 'Well,' I said 'you can have it. Pay me what you 
 think it is worth to you.' 
 
 "The first month he brought two dollars, and the 
 second month a little boy, who said he was the man's 
 SGH, came with three dollars. After that I saw the man 
 once in a while, but in the course of time the boy paid the 
 rent regularly, sometimes two dollars and sometimes three 
 dollars. One day I asked the boy what had become of his 
 father. 
 
 " 'He's dead, sir, 1 was the reply. 
 
 '"Is that so?' said I. 'How long since? 1 
 
 " 'More'n a year,' he answered. 
 
 "I took his money, but I made up my mind that I would 
 go over and investigate, and the next day I drove over 
 there. The old shed looked quite decent. I knocked at the 
 door, and a little girl let me in. 
 ; ' 'Where is your mother?' said I. 
 
 ' 'We don't know, sir. She went away after my father 
 died, and we've never seen her since.' 
 
 "Just then a little girl about three years old came in, and 
 I learned that these three children had been keeping house 
 together for a year and a half, the boy supporting his 
 two little sisters by blacking boots and selling newspapers, 
 and the elder girl managing the house and taking care of 
 the baby. 
 
 [178] 
 
"The next time the boy came with the rent I said, 
 '"My boy, you are a little mah! You keep right on as 
 you have begun, and you will never be sorry. Keep your 
 little sisters together, and never leave them. Now look at 
 this.' 
 
 "I showed him a ledger in which I had entered up all 
 the money that he had paid me for rent, and I told him it 
 was all his with interest. 'You keep right on.' says I, 
 'and I'll be your banker, and when this amounts to a little 
 more I'll see that you get a house somewhere of your 
 own.' That's the kind of tenant to have." Chicago Herald. 
 
 An ocean steamer was approching the Canadian coast, 
 dense fogs had prevailed for three or four days. It was 
 moving at reduced speed, and whistling frequently, when 
 suddenly, in the early morning, the lookout heard 
 through the fog a warning cry or shout just ahead. Peer- 
 ing more intensely into the gloom, the keen-eyed captain 
 saw, not far from the steamer's bow a little fisher's boat, 
 with two men trying to attract his attention. Hearing 
 the constant whistles those men in their boat had pushed 
 out from the rocky shore risking their lives to warn the 
 ship. But almost at the moment that the boat was dis- 
 covered, the captain saw looming up through the fog just 
 before him a granite cliff or wall several hundred feet 
 high, toward which the steamer in deep water was press- 
 ing to instant destruction. His only safety, as he saw, was 
 in instantly putting hard down his helm. But to do that 
 w T ould drive the great steamer over the little boat, with 
 the two men who were striving to save us. 
 
 "There was no alternative," said the noble captain. "It 
 was my only w T ay to save the hundreds of passengers en- 
 trusted to my care. If I could only have died for those 
 brave men, how gladly would I have done it, but I had no 
 such choice." 
 
 The helm w r as put hard down. The steamer with all 
 its passengers was saved. But the two men who had 
 wrought this deliverance went down in their flsher's-boaf. 
 They saved others, themselves they could not save. 
 
 Herman Livingstone. 
 
 Note how much discrimination there is in this poem; yet 
 it is of course, saturated with emotion. What is the pre- 
 vailing emotion? What sort of man is the Duke? What 
 was his accusation against the Duchess? Was the Duchess 
 lovable? Did the Duke think so? What feeling did he 
 have? 
 
 MY LAST DUCHESS 
 
 That's my last Duchess painted on the wall, 
 Looking as if she were alive. I call 
 That piece a wonder, now: Fra Pandolf's hands 
 Worked busily a day, and there she stands. 
 
 [179] 
 
Will 't please you sit and look at her? I said 
 
 "Fra Pandolf" by design, for never read 
 
 SI rangers like you that pictured countenance, 
 
 The depth and passion of its earnest glance, 
 
 But to myself they turned (since none puts by 
 
 The curtain I have drawn for you, but I) 
 
 And seemed as they would ask me, if <hev durst, 
 
 How such a glance came there; so, not the lirst 
 
 Are you to turn and ask thus. Sir, 't was not 
 
 Her husband's presence only, called that spot 
 
 Of joy into the Duchess' cheek: perhaps 
 
 Fra Pandolf chanced to say, "Her mantle laps 
 
 Over my lady's wrist too much," or "Paint 
 
 Must never hope to reproduce the faint 
 
 Half-flush that dies along her throat": such stuff 
 
 Was courtesy, she thought, and cause enough 
 
 For calling up that spot of joy. She had 
 
 A heart how 7 shall I say? too soon made glad, 
 
 Too easily impressed: she liked whate'er 
 
 She looked on, and her looks went everywhere. 
 
 Sir, 't was all one! My favor at her breast, 
 
 The dropping of the daylight in the West, 
 
 I he hough of cherries some officious fool 
 
 Broke in the orchard for her, the white mule 
 
 She rode with round the terrace all and each 
 
 Would draw from her alike the approving speech, 
 
 Or blush, at least. She thanked men, good! but thanked 
 
 Somehow T know not how as if she ranked 
 
 My gift of a nine hundred-years-old-name 
 
 With anybody's gift. Who'd stood to blame 
 
 This sort of trifling? Even had you skill 
 
 In speech (which I have not) to make your will 
 
 Quite clear to such an one, and say, "Just this 
 
 Or that in you disgusts me; here you miss, 
 
 Or there exceed the mark"* and if she let 
 
 Herself be lessoned so, nor plainly set 
 
 Her wits to yours, forsooth, and made excuse, 
 
 E'en then would be some stooping; and I choose 
 
 Never to stoop. Oh sir, she smiled, no doubt, 
 
 Whene'er I passed her; but who passed without 
 
 Much the sanie smile? This grew; I gave commands; 
 
 Then all smiles stopped together. There she stands 
 
 As if alive. Will 't please you rise? We'll meet 
 
 The company below, then. I repeat, 
 
 The Count your master's known munificence 
 
 Is ample warrant that no just pretence 
 
 Of mine for dowry will be disallowed; 
 
 Though his fair daughter's self, as I avowed 
 
 At starting, is my object. Nay, we'll go 
 
 Together down, sir. Notice Neptune, though, 
 
 Taming a sea-horse, thought a rarity, 
 
 W T hich Glaus of Innsbruck cast in bronze for me! 
 
 Brownings 
 [180] 
 
LESSON LIV 
 
 We class as volition all passages and utterances in 
 which the speaker impresses his will upon the hearers, 
 and tries to cdntrol or modify or influence their action. 
 
 The will acts in different ways, it is sometimes quick, 
 sometimes slow, sometimes impulsive, sometimes firm, 
 sometimes as violent as a volcano, sometimes as irresistible 
 as a mighty river. When the speaker has a definite purpose 
 he must control the expression of his volition or he will 
 riot accomplish .his purpose. Since volition manifests itself 
 in these various ways it will be helpful to study it in five 
 sections: passages that are (1) Impulsive, (2) Insistent, 
 (3) Uplifting, (4) Majestic and (5) Tumultuous. 
 
 We have seen that Presentation is expressed through 
 time, in rate and grouping; Discrimination is shown by 
 change of Pitch, in inflection; the different Emotions use 
 different qualities of tone (such as pure tone, full tone, 
 hard tone, breathy tone, etc.,) Volition is expressed by 
 pressure of tone, or stress. 
 
 Note. The word "stress" is often carelessly used when 
 a downward inflection is meant, like assertion or momen- 
 tary completeness. This is, of course, a wrong use of the 
 word. 
 
 We may class as Impulsive volition all passages that 
 express the action of the will with promptness. This 
 may be a sudden shock, an abrupt attack, or an impulsive 
 command, or it may be merely quick decision without any 
 loss of self-control. The tone of impulsive volition is 
 always prompt, but not necessarily loud. 
 
 You may go at once. 
 
 Hence! home, you idle creatures, get you home! 
 
 Our brethren are already in the Held! Why stand 
 we here idle? 
 
 My son, if sinners entice thee, 
 Consent thou not. 
 
 Down with these tyrants of England! we never have 
 
 sworn them allegiance! 
 Death to these foreign soldiers, who seize on our homes 
 
 and our harvests! 
 
 [181] 
 
The Boston Herald says that when Matthew Arnold was 
 in Boston he was greatly interested in something he saw 
 in the reading room of the Public Library. He came in one 
 day and found a little barefooted newsboy sitting in one 
 of the best chairs enjoying himself as if he were at home. 
 
 The essayist was astounded. "Do you allow barefooted 
 boys in this reading room?" he asked. "You would never 
 see such a sight as that in England. I do not believe there 
 is a reading room in all Europe in which that boy, dressed 
 as shabbilv as he is, would be permitted to enter." 
 
 Then Mr. Arnold went over to the boy, spoke to him, 
 and found that he was readme: the "Life of Washington," 
 and that he had decidedly anti-British opinions and was, 
 for his age, remarkably well informed. 
 
 Mr. Arnold remained talking with the youngster for 
 some time, and as he came back to our desk the English- 
 man said: "I do not think I have bee,n so impressed with 
 anything else that I have seen since arriving in this coun- 
 try as T am now with meeting this barefooted boy in this 
 reading room. \Vhat a tribute to democratic institutions 
 it is to say that, instead of sending that boy out to wander 
 alone in the streets, they permit him to come in here and 
 excite his youthful imagination by reading such books as 
 the 'Life of Washington 1 ; The reading of that one book 
 may change the whole course of that boy's life, aiind 
 may be the means of making him a useful, honorable, 
 worthy citizen of this great country. Tt is, I tell you, a 
 sight that impresses a European not accustomed to your 
 democratic ways." 
 
 Tell which kind of Impulsiveness is expressed in each of 
 these examples. 
 
 Find examples of Impulsive volition in previous pages. 
 
 The second class of volition, which has been well called 
 Insistence, shows more self control than the Impulsive. 
 The insistent will is masterful, and controls not only self, 
 but others; it speaks with firmness and determination, it 
 insists with a steady and continuous pressure until it over- 
 comes the opposition. 
 
 This determination is less abrupt and usually quieter 
 than the Impulsive volition. It grows stronger towards 
 the end. 
 
 Has the gentleman done? Has he completely done? He 
 w r as unparliamentary from the beginning to the end of his 
 speech. There was scarce a word 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 with- 
 
 [182] 
 
out being unparliamentary. But before I sit down I shall 
 show him how to be severe and parliamentary at the 
 same time. Grattan. 
 
 On the occasion corresponding to this four years ago, 
 all thoughts were anxiously directed to an impending civil 
 war. All dreaded it, all sought to avoid it. While the 
 inaugural address was being delivered from this place, 
 devoted altogether to saving the Union without war, 
 insurgent agents were in the city, seeking to destroy it 
 with war seeking to dissolve the Union and divide the 
 effects by negotiation. Both parties deprecated war, but 
 one of them would make war rather than let the nation 
 survive, and the other would accept war rather than let 
 it perish, and the war came. 
 
 From Lincoln's Second Inaugural Address. 
 
 If influenced by local pride, or gangrened by state 
 jealously, I get up here to abate a tithe of a hair from his 
 just character and just fame may my tongue cleave to 
 the roof of my mouth. 
 
 Ah, gentlemen, that was a dreadful mistake. 
 
 It must be confessed, it will be confessed; there is no 
 refuge from confession but in suicide, and suicide is con- 
 fession. 
 
 What I have written, I have written. 
 
 Go back a hundred years to Glasgow and watch the 
 glover's apprentice at night, too poor to buy a candle, 
 standing reading in the street by the light in a, shop 
 window. Out goes the light. He moves to another window. 
 Out goes the light. He moves to another window. He is 
 driven from window to window until all the shopkeepers 
 are in bed. Then he climbs a lamp-post, holding on with 
 one hand while he grasps his book with the other. That 
 boy becomes the greatest scholar in Scotland. 
 
 Find passages of Insistent Volition in the selection from 
 William MacLeod Raine, (page 163) 
 
 [183] 
 
LESSON LV 
 
 In Exalted feeling the speaker expresses his own ad- 
 miration or enthusiasm. He would express this emotion of 
 his if he were alone, where nobody could hear him, as in 
 
 Oh, to he in England 
 Now that April's there! 
 
 This is emotion, the spontaneous and enthusiastic ex- 
 pression of his own glad heart. But the Volition that 
 corresponds to this exalted feeling, and is indeed moved 
 by exalted feeling, seeks to stir the hearers to the same 
 noble emotion, and uplifts them to the point of doing 
 worthy deeds. 
 
 Exalted emotion merely expresses one's own feeling, 
 while Uplifting volition seeks in addition to influence 
 somebody else. Uplifting volition could not exist without 
 exalted emotion, but exalted emotion can exist without 
 any volition. 
 
 When the speaker is stirred \vith noble feeling, and by 
 buoyant, full, glad pressure urges the hearers to admire, or 
 take courage, or do something great and good, that is up- 
 lifting Volition. By the pressure of his will kindled by 
 his strong feeling he tries to uplift the hearers. 
 
 Uplifting Volition expresses itself in the deep, rich en- 
 larged tone of exalted feeling with the addition of an ex- 
 panding pressure which causes a swell in the most prom- 
 inent word, phrase or clause. 
 
 The bearing will be animated, the head lifted, the ges- 
 ticulation large and strong. 
 
 Caution: If you have not by sympathetic imagination 
 aroused your own emotion, and animated your bearing, 
 pressure will make the tone of your voice hard. By 
 thorough paraphrase and vivid imagination you can in- 
 duce genuine emotion. The chest will then expand and the 
 voice, even with pressure, can remain resonant, full, and 
 rich. 
 
 1. Point out the volition in each of these examples. 
 
 2. Paraphrase it so as to make anyone else recognize it. 
 
 3. Read each aloud. 
 
 [184] 
 
Napoleon shouted to him: "Beat a retreat. 1 ' The boy 
 did not stir. "Gamin, beat a retreat." The hoy stopped, 
 grasped his drumsticks, and said; "I do not know how to 
 beat a retreat. Desaix never taught me that. But I can 
 beat a charge. Oh! I can beat a charge that would make 
 the dead fall into line. I beat that charge at the Pyramids; 
 I beat that charge at Mt. Tabor; I beat it again at the 
 bridge of Lodi. May I beat it here?" 
 
 Thou, too, sail on, ship of State! 
 Sail on, Union, strong and great! 
 Humanity, with all its fears 
 With all its hopes of future years, 
 Is hanging breathless on thy fate! 
 
 Longfellow. 
 
 For this cause I bmv my knees unto the Father, for 
 whom every fatherhood in heaven and on earth is named, 
 that he would grant you, according to the riches of his 
 glory, that ye may be strengethened with power through 
 his Spirit in the inward man; that Christ may dwell in 
 your hearts through faith; to the end that ye, being rooted 
 and grounded in love, may be strong to apprehend with all 
 the saints what is the breadth and length and height and 
 depth, and to know the love of Christ which passeth 
 knowledge, that ye may be filled unto all the fulness of God. 
 
 Ephesians 3:14-19. 
 
 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. 
 
 A WELCOME TO ALEXANDRA 
 
 Sea king's daughter from over the sea, 
 
 Alexandra! 
 
 Saxon and Norman and Dane are we, 
 
 But all of us Danes in our welcome of thee, 
 
 Alexandra! 
 
 Welcome her, thunders of fort and of fleet! 
 
 Welcome her, thundering cheers of the street! 
 
 Welcome her, all things youthful and sweet, 
 
 Scatter the blossoms under her feet! 
 
 Break, happy land, into earlier flowers! 
 
 Make music, bird, in the new-budded bowers! 
 
 Blazon your mottoes of blessing and prayer! 
 
 Welcome her, welcome her, all that is ours! 
 
 Warble, bugle, and trumpet blare! 
 
 Flags, flutter out upon turrets and towers! 
 
 Flames, on the windy headland flare! 
 
 Utter your jubilee, steeple and spire! 
 
 Clash, ye bells, in the merry March air! 
 
 Flash, ye cities, in rivers of fire! 
 [185] 
 
Rush to the roof, sudden rocket and higher 
 
 Melt into stars for the land's desire! 
 
 Roll and rejoice, jubilant voice, 
 
 Roll as a ground swell dashed on the strand, 
 
 Roar as the sea when he welcomes the land, 
 
 And welcome her, welcome the land's desire, 
 
 The sea king's daughter as happy as fair, 
 
 Blissful bride of a blissful heir, 
 
 Bride of the heir of the kings of the sea 
 
 joy to the people, and joy to the throne, 
 
 Come to us, love us, and make us your own; 
 
 For Saxon or Dane or Norman we, 
 
 Teuton or Celt or whatever we be, 
 
 We are each all Dane in our welcome of thee, 
 
 Alexandra! 
 Tennyson. 
 
 Alexandra was daughter of the king of Denmark, and 
 was coming to England as the bride of King Edward VII. 
 
 [186] 
 
LESSON LVI 
 
 When the speaker is stirred by exalted feeling and his 
 purpose is not to arouse and uplift the hearers to some 
 noble action, but rather to sweep away every obstacle by 
 the irresistible momentum of his resolute will, we have an 
 example of a powerful and sustained force of will moving 
 with tremendous energy. This we may call Majestic Vo- 
 lition. It has breadth, grandeur, steadiness; it has the 
 magnificence of strength and the smoothness of invincible 
 power. Such volition occurs only as the culmination of 
 deep and prolonged emotion; like iron melting white-hot 
 and pouring out like a tide of lire. It can scarcely be given 
 in short passages. 
 
 This type of volition is larger, grander, more stupen- 
 dous than uplifting volition, and is expressed by full 
 resonant tones, giving largeness as well as loudness, ex- 
 panded by continuous and strong pressure. Body, in- 
 tellect, emotion, will all swell to their full size, and then 
 the voice sweeps irresistibly onward in majestic tones. This 
 cannot be imitated in cold blood, or it will become cheap 
 and shallow rant. 
 
 And I heard as it were the voice of a great multitude, 
 and as the voice of many waters, and as the voice of 
 mighty thunderings, saying, Hallelujah: for the Lord God, 
 the Omnipotent reigneth. Revelations 19:6. 
 
 You remember the story that Russell Lowell tells of 
 Webster when we in Massachusetts were about to break 
 up the Whig party. Webster came home to Faneuil Hall 
 to protest, and four thousand Whigs came out to meet 
 him. He lifted up his majestic presence before that sea 
 of human faces, his brow charged with thunder and said, 
 "Gentlemen, I am a Whig; a Massachusetts Whig; a Rev- 
 olutionary Whig; a Constitutional Whig; a Faneuil Hall 
 Whig; and if you break up the Whig party where am I to 
 go?" And says Lowell, "We all held our breath, thinking 
 where he could go." 
 
 "When my eyes shall be turned" etc. (Page 76). 
 
 Brethren, I count not myself yet to have laid hold: 
 but one thing I do, forgetting the things which are be- 
 hind, and stretching forward to the things which are 
 
 [187] 
 
before, 1 press on toward the goal unto the prize of the 
 high calling of God in Christ Jesus-- Philippians 3:13-14. 
 
 When the speaker is upset by agitated feeling so that 
 his will cannot gain full control, but is half submerged in 
 violent passion we may call it Tumultuous volition. The 
 passionate agitation obstructs the will's action, so that it 
 causes a violent, interrupted movement of will, a tumult. 
 
 Wherefore rejoice? 
 What conquests brings he home? 
 What tributaries follow him to Rome, 
 To grace in captive bonds his chariot wheels? 
 You blocks, you si ones, you worse than senseless 
 things! 
 
 And darest thou then 
 
 To beard the lion in his den 
 
 The Douglas in his hall? 
 
 King For I shall never hold that man my friend 
 Whose tongue shall ask me for one penny cost 
 To ransom home revolted Mortimer. 
 Hotspur Revolted Mortimer! 
 
 He never did fall off- 
 King Sirrah, henceforth 
 
 Let me not hear you speak of Mortimer. 
 Send me your prisoners with the speediest 
 
 means, 
 Or you will hear of it. 
 
 (The King Leaves) 
 
 Hotspur And if the devil come and roar for them, 
 I will not send them. I will after straight 
 And tell him so; for I will ease my heart, 
 Although it be with hazard of my head. 
 Speak of Mortimer! 
 
 Zounds, I will speak of him, and let my soul 
 Want mercy, if I do not join with him: 
 Yea, on his part I'll empty all these veins. 
 And shed my dear blood drop by drop in the 
 
 dust, 
 
 But T will lift the down-trod Mortimer 
 As high in the air as this unthankful king, 
 As this ingrate and canker'd Bolingbroke. 
 
 Tn tumultuous volition the speaker's whole mind and 
 body and voice is shaken by the violence of his passion; and 
 the tumult is increased by his spurts of determination that 
 are almost choked by their conflict with his emotion. 
 
 [188] 
 
LESSON LVII 
 
 1. Bring in an example of each kind of volition. 
 
 2. Mark the kinds of volition in the following passages. 
 
 I am Jehovah thy God, who brought thee out of the land 
 of Egypt, out of the house of bondage. Thou shalt have 
 no other gods before me. Exodus 20:2-3. 
 
 The eternal God is thy dwelling-place, and underneath 
 are the everlasting arms. Dent. 33:27. 
 
 Come to me, and I will give thy flesh unto the birds of 
 the heavens, and to the beasts of the field. I Sam. 17:4i. 
 
 NATHAN REBUKES KING DAVID 
 
 And Nathan came to David and said, There were two 
 men in one city; the one rich and the other poor. The 
 rich man had exceedingly many flocks and herds; which 
 he had brought and nourished up: and it grew up together 
 with him and with his children. And there came a 
 traveler unto the rich man, and he spared to take of his 
 own flock, but took the poor man's lamb and dressed it 
 for the man that was come to him. And David said, As 
 Jehovah liveth the man that hath done this is worthy to 
 die. And Nathan said to David, Thou are the man. 
 
 II Sam. 12:17. 
 
 To him that overcometh, to him will I give to eat of 
 the tree of life, which is in the Paradise of God. 
 
 Rev. 2:7. 
 
 And what shall I more say? for the time will fail 
 me if I tell of Gideon, Barak, Samson, Jepthah; of David 
 and Samuel and the Prophets: who through faith subdued 
 kingdoms, wrought righteousness, obtained promises, stop- 
 ped the mouths of lions, quenched the power of fire, escaped 
 the edge of the sword, from weakness were made strong, 
 waxed mighty in war, turned to flight armies of aliens. 
 
 Hebrews 11:32-34. 
 
 You sec me here, you gods, a poor old man, 
 As full of grief as age; wretched in both! 
 If it be you that stir these daughters' hearts 
 Against their father, fool me not so much 
 To bear it tamely; touch me with noble anger; 
 And let not women's weapons, water-drops. 
 Stain my man's cheeks! No, you untiatural hags, 
 T will have such revenues on you both. 
 That all the world shall T will do such things, 
 What they are, yet I know not; but they shall be 
 [189] 
 
The terrors of the earth. You think I'll weep; 
 
 No I'll not weep: 
 
 I have full cause of weeping; but this heart 
 
 Shall break into a hundred thousand flaws 
 
 Or e'er I'll weep; fool, I shall go mad! 
 
 King Lear. 
 
 The king is come to marshal us, in all his armor dressed, 
 And he has bound a snow-white plume upon his gallant 
 
 crest. 
 
 He looked upon his people, and a tear was in his eye; 
 He looked upon the traitors, and his glance was stern and 
 
 high. 
 Right graciously he smiled on us, as rolled from wing 
 
 to wing, 
 Down all our line, a deafening shout "God save our lord 
 
 the king!" 
 
 "And if my standard-bearer fall, as fall full well he may 
 For never saw I promise yet of such a bloody fray 
 Press where ye see my white plume shine amidst the ranks 
 
 of war, 
 And be your oriflamme today the helmet of Navarre." 
 
 Hurrah! the foes are moving. Hark to the mingled din 
 
 Of fife, and steed, and trump, and drum, and roaring 
 culverin. 
 
 The fiery duke is pricking fast across Saint Andre's plain, 
 
 With all the hireling chivalry of Guelders and Almayne. 
 
 Now by the lips of those ye love, fair gentlemen of France, 
 
 Charge for the golden lilies now upon them with the 
 lance! 
 
 A thousand spurs are sticking deep, a thousand spears in 
 rest, 
 
 A thousand knights are pressing close behind the snow- 
 white crest; 
 
 And in they burst, and on they rushed, while, like a guid- 
 ing star. 
 
 Amid the thickest carnage blazed the helmet of Navarre. 
 
 Macaulay. 
 
 Said a dealer in stocks to an honest clerk in a com- 
 mercial house: "For a wink I will make you rich. You 
 must know r the purpose of your great corporation. Is 
 your firm about to purchase this new road? You need 
 riot speak a word, that you may be able to say, 'I have 
 never spoken to any one of the secrets of the house.' Wink, 
 and I will secure to you $100,000." 
 
 "I cannot; honor is everything; nothing can compensate 
 for loss of soul-value." 
 
 [190] 
 
LESSON LVIII 
 
 1. Mark the different ki'nds of feeling in this story. 
 
 2. Mark the different kinds of volition in it. 
 
 3. Read it aloud showing these fully. 
 
 IN THE TIGER JUNGLE 
 
 It was in September, 1863. I was taking a long explor- 
 ing, preaching, and Bible-distributing journey of twelve 
 hundred miles on horseback, through a region regarded 
 as exceedingly dangerous. 
 
 We had been kept awake through the night, more than 
 once, by the roaring of the tigers around our camp in the 
 jungle, as we heaped wood and brush upon our camp- 
 fires all night long, lest there be ho one to tell the tale in 
 the morning. We were to find a Government steamer 
 when we struck the river. We reached the river but no 
 steamer was there. The heavy torrents had mnde the 
 Godavery three miles wide. We must, then, march through 
 that seventy-five miles of jungle to reach the next steamer 
 at the foot of the seco'nd cataract. 
 
 I need not stop to recount the exciting episode of our 
 desertion by the whole party of carriers, nor of our des- 
 perate efforts, finally successful, to cross the Godavery's 
 three miles' flood, in order that we might reach a large 
 town of the Nizam's dominions, the headquarters of a 
 sort of deputy governor, of whom I hoped to obtain help. 
 
 He politely told me that it was an utter impossioility; 
 that at this seasdn of the year, with the fever so deadly, 
 tigers so ravenous, and the floods and back-waters from 
 the river damming the way, no coolies could be induced to 
 go through. 
 
 I took from my pocket a long parchment in which the 
 Nizam ordered any of his officials to render any assistance 
 I should call for. under the highest penalties for non-- 
 performance. The moment he saw the great royal seal he 
 shouted to his attendants, and in an incredibly short time 
 forty-four bearers appeared. 
 
 T separated them into four squads of eleven men each, 
 with one of my native preachers in charge of each party. 
 The two royal guides of the region had been ordered to 
 guide us through, were promised a high reward, and had 
 sworn faithfulness. 
 
 Tn spite of all my precautions, T felt very suspicious 
 that an effort would be made to desert us and was on 
 constant watch. Cantering by the whole line, where the 
 width of the path allowed, I 'would stop at the front and 
 
 [191] 
 
watch and count every man. and bundle, until all had 
 passed, and then canter on ahead, again. So we went on 
 hour after hour, halting only for an hour for lunch at 
 midday. 
 
 Late in the afternoon we met two daring huntsmen who 
 had beeji down to a point two miles beyond, (o inspect 
 their traps, and were on the full run back to shelter for 
 the night. 
 
 We halted them to inquire of the region ahead. We 
 knew that some two miles in front was an affluent of the 
 Godavery, which we had expected to ford and pitch our 
 camp for the night on an open knoll a little distance beyond 
 it, where, with bright camp-fires and watchfulness, we 
 could pass the night in comparative safety. But from 
 these hunters we learned that the back-water of the Go- 
 davery flood, which was thirty feet higher than usual, had 
 made these streams absolutely unfordable. 
 
 "Is there no boat?" 
 
 "None." 
 
 "No material for a raft?" 
 
 "None whatever." 
 
 And dn the hunters dashed for safety. \Vy were march- 
 ing about a mile to the south of the Godavery and parallel 
 with it. 
 
 "Guides!" "Is there no knoll on this side that wo can 
 pitch on?" 
 
 "No, from river to bluff is all like this." 
 
 In an hour it would be sunset. I said not a word to my 
 assistants, but I spake to God. "Master! was it not for thy 
 sake that we came here? Didst thou not promise 'I will be 
 with you'? Now we need thee. We are in blackest danger 
 for this night. Only thou canst save us from this jungle, 
 these tigers, this flood. Master! show me what to do." 
 
 An answer came; not audible, but a thought as distinct 
 as though spoken in my ear by human voice; "Turn to 
 the left, to the Godavery, and you will find rescue." Riding 
 rapidly forward, I overtook the guides. "How far is it to 
 the Godavery? 1 ' 
 
 "A good mile." 
 
 "Is there no village on its bank?" 
 
 "No, none within many miles; and the banks are all 
 overflowed." 
 
 "Is there no mound nor rising ground on which we 
 could camp out of this water?" 
 
 "It is all low and flat, like this." 
 
 "Think well. Is there no dry timber of which we could 
 make a raft?" 
 
 "If there were any it would all be washed away by 
 floods." 
 
 "Is there no boat of any sort on the river? I have 
 authority to seize anything I need." 
 
 "None nearer than the cataract." 
 
 [192] 
 
"How long would it take us to reach the Godavery by 
 the nearest path?" 
 
 "Half an hour; but it would be so much time lost, for 
 we would have to come back here and cut our way through 
 this jungle to the bluff, and climb that." 
 
 "How long would it take to cut our way through to 
 the bluff?" 
 
 "At least six hours, and it will be dark in an hour." 
 
 "What shall we do for to-night?" 
 
 "God knows," and they looked the despair that they 
 felt. 
 
 I drew aside again, and prayed as I rode on. "Turn to 
 the left, to the Gpdavery, and you will find rescue," came 
 the same suggestion again. It was not audible, but to me 
 it was as distinct as though spoken by a voice in my ear. 
 It thrilled me. "God's answer to my prayer," said I. "I 
 cannot doubt, I must act, and that instantly." 
 
 Hastening forwa-rd to the guides at the head of the 
 column, "Halt!" said I, in a voice to be heard by all. "Turn 
 sharp to the left. Guides! show us the shortest way to 
 the Godavery. Quick!" They remonstrated stoutly; that 
 it was only labor lost, that we should be in a worse plight 
 there than here, for the river might rise higher and wash 
 us away in the darkness of the night. "Obey!" said I. 
 "March sharp, or night will come. I am master here, and 
 intend to be obeyed. Show the way to the river." They 
 glanced at the fourteen-inch revolver that I held in my 
 hand, ready for any beast that should spring upon us, they 
 suspected that it might be used on something besides a 
 beast, and, one saying to the other, "Come on we've got to 
 go," started on. 
 
 All the party had surrounded me. My native preachers 
 looked up inquiringly at my awed face. "There is rescue 
 at the river," was all I said. How could I say more? Prov- 
 identially, we had just come to where an old path led at 
 right angles to our former course and directly towards the 
 river, and down that path we went. The step of all was 
 quicker than before, "The Dhora has heard of some help 
 at the river," I overheard the coolies say to one another. 
 I had heard of help; but what it was I knew not. Half a 
 mile from the river I spurred forward past the guides. 
 I knew the coolies won Id. not desert me now. There was 
 no place for safety that they could reach for the night. 
 
 I cantered out from among the bushes to the bank. 
 There right under my feet, was a large flat-boat, tied to a 
 tree at the shore, with two men upon it trying to keep 
 it secure in the rising and falling current. 
 
 "How did this boat get here?" said I. 
 
 "Oh, sir, don't be angry with us," said the boatmen, 
 taking me to be an officer of the British India Government, 
 and thinking I was taking them to task for not keeping the 
 boat on its proper station: "we tried our best to keep the 
 
 [193] 
 
boat from coming here, but, sir, it seemed as though it 
 was possessed. This morning we were on our station 
 yvhen a huge wave snapped the ropes and swept the boat 
 into the current. We did our utmost to get it back to that 
 bank of the river, but an hour ago we gave up and let it 
 float in here and tied it up for safety to this tree. Don't 
 have us punished for letting it come here, as soon as the 
 river goes down we will get the boat back where it be- 
 longs." 
 
 "All right my men," I shall use the boat and reward you 
 well, and give you a letter to your superior that will clear 
 you of all blame." 
 
 The boat, a large flat-boat, with strong railings along 
 both sides, and square ends to run upon the shore had been 
 built by the British military authorities in the troublous 
 times following the mutiny. These men were paid monthly 
 wages to keep it always ready, at its station, in case of 
 sudden need. 
 
 We pitched our long, low tent upon the boat, and made 
 a secure abode for the night, and within it the whole party 
 were able to gather, with all the baggage. Before dark all 
 hands had gathered a sufficiency of wood and brush to 
 keep a bright camp-fire burning through the night on the 
 shore, and I sat watching at the shore-e ! nd of the boat, 
 pistol in hand, through the night, lest, in spite of the fire 
 a tiger should try to spring on. We heard their roaring 
 and snarling in the bushes near at hand, but, "He shall give 
 his angels charge over thee, to keep thee in all thy ways," 
 was the thought that kept running through my mind after 
 we had read the ninety-first Psalm in the beautiful Teloo- 
 goo language, and offered up prayers of thanksgiving, and 
 praise to the Most High, under the shadow of whose wings 
 we were abiding. 
 
 I have tried to give a vivid picture of the events of that 
 day; but nothing can equal the vivid consciousness we 
 had that day of the presence of the Master. 
 
 Some who have not tested it may sneer and doubt, but 
 we five know that God hears prayer. Jacob Chamberlain. 
 
 [104] 
 
LESSON LIX 
 
 All sounds are either tones or noises; that is they are 
 either musical and pleasant, or rough and harsh. Tones, 
 or musical sounds, will travel a long way; noises shatter 
 and soon fall to pieces. If you rose above a fair-ground 
 in an aeroplane, the noise and clatter, which drowned out 
 the music, would die away as you rose higher, and the pure 
 musical tones of the violin would still be heard long after 
 the noises had faded into silence. 
 
 When you enter a large hall and someone is speaking, 
 the first thing you notice about his voice is whether it can 
 be heard easily; whether it has what is called "carrying 
 power" or "penetrating power." This does not depend 
 wholly upon force or loudness of voice, any more than 
 throwing a ball to a certain spot depends merely on the 
 force used. Of course, you must use some force, but it 
 takes also the skill that comes from long practice. The 
 speaker must know how to aim his tones, and reach this or 
 that person as he desires; not by sweeping his words out 
 fiercely, but rather by thinking of the exact spot where 
 he wants to drop them gently. Byron W. King says very 
 suggestively: "The proper sensation when making the best 
 tones for speaking, is that of drawing the sound into the 
 throat not of forcing out, as is the prevailing theory. The 
 proper sensation is as swallowing. Do not try to throw 
 the voice to a certain point or person; rather try to draw 
 it from that point to you." 
 
 This penetrating, or carrying power, or reach of voice, 
 depends largely (1) on how musical your words are; on 
 whether you have by persistent practice formed the habit 
 of making every vowel a pure tone, clear, open, resonant, 
 bell-like (not breathy, nor nasal, nor throaty, nor snipped 
 off before it is fully formed) ; and (2) on how accurately, 
 and distinctly, and delicately you articulate the consonants. 
 (See exercises 31 and 38.) 
 
 Sound fully and purely the vowel sounds in Tennyson's 
 epitaph on Sir John Franklin who was lost in the Arctic re- 
 gions while searching for the North Pole. 
 
 [195] 
 
Not here! The white north has his bones; 
 
 And thou, heroic sailor soul, 
 Art passing on thy happier voyage now, 
 
 Toward no earthly pole. 
 
 and these that Shakespeare put into the mouth of Cassius: 
 
 Age, thou art sharped! 
 
 Rome, thou hast lost the breed of noble bloods! 
 When went there by an age, since the great flood, 
 But it was famed with more than with one man! 
 
 By careful observation you may notice that every tone 
 has three properties, (which you can think of apart, though 
 they are in fact all fused together). 
 
 1. Force, or loudness, or pressure. 
 
 2. Pitch, higher or lower on the musical scale. 
 
 3. Quality, or tone-color, or texture of tone. 
 
 The voice may vary through a very wide range, depend- 
 ing in actual use, of course, upon the meaning and feelings 
 of the speaker. 
 
 A word should be said even in an elementary text- 
 book, about the melodies of speech. These are not so 
 noticeable as the melodies of song, because in singing 
 we hold the tones a definite time at each interval of pitch, 
 while speaking, the notes are not held, but are allowed to 
 vanish. So while song is a series of tones, speech is a 
 series of vanishes. 
 
 But if while you are speaking, you hold a tone here 
 and there, that is, prolong it till you notice the pitch in- 
 stead of letting it vanish, you will notice that in ordinary 
 free conversation there is a very wide interval between 
 the highest and lowest pitch used, often more than an 
 octave. When excited, or embarassed, the intervals are 
 closer and sometimes become almost a monotone. 
 
 One of the secrets of effective speaking, pleasant to the 
 audience and easy for the speaker, is to use these wide 
 conversational melodies all the time, whether you are 
 talking to an audience of three or three hundred. If you do 
 not constantly test yourself by saying the sentences as if 
 to one or two hearers, you are likely to "roll it off" in a 
 so-called oratorical tone, which swings up and down with 
 as little variation as a merry-go-round. 
 
 [196] 
 
LESSON LX 
 
 It will perhaps be helpful to consider the matter of 
 Criticism. Some people confuse criticism with censure, 
 but a critic is not merely censorious, when he judges. Ho 
 appreciates the good as much as he rejects the bad. Crit- 
 icism should always be constructive. Its purpose is to 
 help people towards improvement, and it is impossible to 
 help people without encouraging them. For criticising 
 one's own work, and observing the speaking of others, a 
 chart or outline is convenient. It helps to keep in mind 
 the whole field, when otherwise some important parts of 
 it might be overlooked. 
 
 I. General Impression. 
 
 1. The speaker's personality 
 
 Can he be heard easily? 
 
 Does he command your respect, or is he self- 
 conscious, conceited, woodeny, weak? 
 Does he win your liking? Natural or affected? 
 
 2. His interest in his subject 
 
 Has he mastered it, or is his knowledge shallow? 
 Is he so interested in his subject as to forget him- 
 self? 
 
 3. Has he pleasure in meeting his hearers? 
 
 Is he hearty? or cold and half indifferent? 
 
 II. Mastery of His Instrument. 
 
 Feet Attitudes free? expressive? consistent? 
 Gesticulation unobtrusive? significant? 
 Voice Strong? clear and resonant? well aimed? 
 
 Distinct articulation? 
 
 Pure, or nasal? hard and throaty? muffled? lip-lazy? 
 high pitch? too loud? thin? 
 
 Has he conversational melodies? 
 
 III. His Interpretation. 
 
 Does he group well? or crowd his words raggedly? 
 Does he subordinate lesser things to the main 
 thought? 
 
 Do his inflections show accurate thought? Is his 
 thinking alive while speaking? or memorized and 
 rattled off? 
 
 [197] 
 
Does he speak with feeling, or as if it was all multi- 
 plication table? 
 
 Does he enter into varied emotions? 
 Is his emotion genuine? 
 
 Is his expression of emotion delicate, or "laid on 
 with a trowel?" 
 
 Does he use enough force or pressure? too much? 
 Does he "bull-doze" the hearers? 
 
 SOME PRIVATE SUGGESTIONS 
 
 Be in Earnest, have a clear conception of your sub- 
 ject, dwell on it in private till it kindles your imagination 
 deeply and stirs your feeling. Do not speak till you have 
 a strong desire to make your hearers see it and feel it as 
 you do. 
 
 Dr. Nehemiah Boynton says the three essential ele- 
 ments of speech are Point, Picture, Passion. 
 
 Similar qualities have been suggested in Proving, 
 Painting, Persuading. 
 
 Keep the mouth shut, and breathe through the nose. 
 Do not be afraid of fresh air. Use plenty of cold water 
 on the throat morning and night; drink plenty of cold water 
 night and morning. Do not suck a lemon before speaking, 
 the acid will cut the phlegm, but it puckers the mucous 
 lining of the pharynx. Do not cough; inhale and moisten 
 the throat with saliva. Never use sprays or atomizers in 
 nose and throat. 
 
 Sore Throat. Follicular Pharyngitis (sometimes called 
 clergymen's sore throat) is not caused by catching cold, 
 but by wrong use of the voice. The neck muscles which 
 should be relaxed, are contracted and thus compress the 
 pharynx and strain the larynx. The speaker first notices 
 a dryness of the pharynx, then perhaps huskiness and a 
 slight coughing. Later the mucous lining may have folli- 
 cles or even small ulcers. Do not swab the throat or take 
 cough drops, but consult a skilful physician, though he 
 cannot cure your bad method of speaking. As soon as the 
 congestion is relieved, practice the voice building exer- 
 cises (numbers 5 to 20). 
 
 Nasality. The sounds "m," "n," and "ng" should go 
 through the nose, other sounds should not. Hold the nose 
 and say words in which "m," "n," and "ng" do not occur; if 
 there is no nasality the sound will be clear and correct. In 
 
 [198] 
 
speakers afflicted with this unpleasant habit, the soft 
 palate and uvula falls down upon the back of the tongue. 
 To overcome nasal utterance, Warman says: strengthen 
 the "pillars" supporting the soft palate, by holding the nose 
 and practising short sentences with no sounds of "m," "n, M 
 or "ng." Aim the tone at the far corner of the room. 
 
 Art thou ready. Take the boy. 
 
 Go, false fugitive, arise, away! 
 
 How precious are thy thoughts Lord! 
 and Seiler advises: Pronounce open vowels like "ah" and 
 "oh," with the consonants that are formed farthest forward 
 in the mouth. 
 
 (See especially exercises 33, 36, and 38.; 
 Bell says: Sound the consonants "mb" without separating 
 the lips, as in pronouncing the word "ember. 1 ' The change 
 from "m" to "b" is nothing more than the covering of the 
 nasal aperture by the soft palate; and the change from "b" 
 to "m," without separating the lips, as in the word "submit;' 
 is merely the uncovering of the nasal aperture. 
 
 All these suggestions are excellent. Persons subject to 
 catarrh will find it more difficult to overcome nasality 
 than those with healthy organs. But these exercises will 
 overcome it, and perhaps cure the catarrh. 
 
 Stammering. Breathe deeply and quietly. Be calm and 
 unhurried. Have each thought vividly in mind before be- 
 ginning the sentence. If your tongue balks on a word, do 
 not try to force it, but express the thought in other words. 
 Practice especially exercises 5 to 20, and 30 to 33. 
 
 [199] 
 
EXERCISES 
 
 1. Arms extended front spread (level with shoulders.) 
 
 2. Arms down at sides up sideways. 
 
 3. Arms down at sides up in front. [haling. 
 
 4. Arms down up sideways, slowly inhaling; down ex- 
 
 5. Diaphragm Breathing upper chest. 
 
 6. Diaphragm Breathing abdomen. 
 
 7. Diaphragm Breathing sides. 
 
 8. Diaphragm Breathing back. 
 
 9. Inhale slowly, stretching all at once; exhale easily. 
 
 10. Inhale slowly; exhale quickly, chest still up. 
 
 11. Inhale quickly; exhale easily. 
 
 12. Thrust abdominal walls out, and draw in. 
 
 13. Thrust diaphragm down, lower abdomen passive. 
 
 14. Thrust diaphragm down, contract abdom. muscles. 
 
 15. Chest up; inhale slowly; blow strongly through lips. 
 
 16. Inhale slowly; exhale while saying "ah." 
 
 17. Inhale; say "ah," stretching waist all the time. 
 
 18. Inhale; say "oh-oh-oh-oh," diaphr. and abdom. tense. 
 10. Same, giving "ah" on each degree scale, up and down. 
 
 20. Same, giving numbers 1 to 10 on each degree. 
 
 21. Foot and Ankle, shake passive. 
 
 22. Fingers and Hands, shake passive. 
 
 23. Knee, standing on block, raise and drop. 
 
 24. Stretch arms and torso, tiptoe. 
 
 25. Hip and -Leg. On block, relax free leg, rise. 
 
 26. Shoulder and Arm. Spring on toes, fling arms. 
 
 27. Poise. Change right to left, etc., hips leading. 
 
 28. Test poise point toe forward and backward. 
 
 29. Neck. Elbows on knees, shoulders drag head. 
 
 30. Jaw and Lip. Shake vertically and laterally. 
 
 34. Sing fo-fa-fa up and down scale, stretching waist. 
 
 32. Sing thus fo-fa-fa-fa-fa, waist tense, jaw relaxed. 
 
 33. Sing thus pro-ta-ta-fa-ta-ta-ta-ta-ta, jaw and lips. 
 
 34. Sentences rapidly and distinctly, jaw and lips. 
 
 35- Depress tongue, lift uvula, yawn, and sing "ah" up scale. 
 
 36. Waist tense, uvula up, jaw flex., pa-ba-ma-fa-ta-la-ra- 
 
 [sa. 
 
 37. Shake larnyx, initial k, kkk, koo, koo, koo-koo-koo. 
 
 38. Yawn, close lips, m-m-m, m-a, m-oo, m-o, m-e, m-i. 
 
 [200] 
 
EXAMPLES FOR FEET ATTITUDES 
 
 [201] 
 
EXAMPLES FOR GESTICULATION 
 
 [202] 
 
EXAMPLES OF GOOD PERSUASION 
 
 [203] 
 
LIST OF GOOD SELECTIONS TO READ 
 
 [204] 
 
INDEX 
 
 Accept 
 
 TOO 
 
 .96 
 . 95 
 1 66 
 58 
 
 76 
 73 
 49 
 91 
 182 
 98 
 119 
 119 
 152 
 
 76 
 62 
 114 
 84 
 178 
 1 66 
 
 121 
 
 156 
 
 140 
 
 115 
 
 156 
 
 98 
 76 
 138 
 
 167 
 134 
 
 100 
 
 127 
 
 . 99 
 130 
 
 15 
 129 
 ir 
 150 
 134 
 83 
 163 
 
 "Courtesy. General Howard's" . . 
 "Cowboy with Salt, The" . . . . . 
 "Crime, its own Detector" . . . . 
 Criticism 
 "Crossing the Bar" 
 "Cuban Situation, The" 
 Cumulative Completeness . . . . 
 
 "Daffodils, The" ......... 
 "David and Goliath" . 
 "Dawn" . 
 "Death of Paul Dombey" . . . . . 
 Decline 
 
 26 
 "5 
 70 
 
 197 
 27 
 123 
 127 
 
 12 
 
 2Q 
 
 148 
 157 
 9 6 
 6 9 
 
 99 
 
 8 
 
 99 
 181 
 17 
 126 
 .64 
 . 61 
 
 137 
 195 
 146 
 132 
 
 200 
 184 
 21 
 129 
 76 
 
 137 
 , 76 
 I6 9 
 163 
 
 61 
 182 
 
 179 
 176 
 
 88 
 173 
 25 
 
 93 
 
 65 
 
 Acquire 
 Affirm .... 
 Agitated Feeling .... . . . 
 
 
 Anger . . . 150 
 
 Animation . . 
 
 Antagonism . . . 
 Antony's Oration ......... 
 "Apollyon" . . 
 
 "Arnold in the library" . . . . 
 Assail 
 Assertion . . . 
 Assumption 
 
 Deference . ... 
 
 Define 
 
 Bearing 65, 69, 73 
 "Beecher and Ingersoll" 
 "Believing or Understanding?" . 
 "Bernado del Carpio" 
 "Boy Tenant, The" ... 
 "Break, Break, Break" 
 "Breathes there the man" 
 Breathless Feeling 
 "Bright's Speech" . . 
 "Brotherly Jew, The" 
 "By land and sea I travelled wide" 
 
 Caress 
 Carriage 65, 69, 73 
 
 Delivery . 
 
 Detect 
 Determination 40, 62, 
 Diaphragm 
 Discrimination ..... 38, 58, 67, 
 "Drowned Skipper, The" .... 
 "Drummer Boy, The" 
 
 Emotion 40, 61, 67, 
 "Epitaph on Sir John Franklin" 
 Exalted Feeling 
 
 Exclamation ( . 
 
 Expanding Pressure 
 Expansive Paraphrase 
 Expectation 
 Explosion 
 
 Feelings 40, 42, 61, 67, 
 Feet Attitudes ..... 67, 69, 73 
 "Fezziwig" 
 Fierceness 
 "Firedrill" 
 Firmness 
 "Fisherboat Run Down, The" . . 
 "Fisherman, A" 
 "Flavius and Marullus" 
 "Forger Forgiven, The" 
 "Fred Evans in the Mine" . . . . 
 
 Gesticulation 65, 
 Gesture 
 
 "Charm, I y ticy Stone's" 
 "Christian's Fight With 
 Apollyon" ......... 
 "Christmas Dinner, The" . . . 
 Circumflex 
 Combination of Gestures 
 Completeness 
 Conceal . 
 Concession 
 
 Condensative Paraphrase 
 Condition 
 "Considerate Physician, The" . . 
 Contempt . . 
 
 Contrast 
 "Courage or Bravado?" ...... 
 "Courageous King, A" 
 
 [205] 
 
"Gettysburg Address, The" ... 32 
 "Gladstone's Miniature'' ..... 162 
 "Glasgow Errand Boy, The" . . .177 
 "Glover's Apprentice, The" . . .183 
 "Goldminer's Luck, The" .... 86 
 "Gradgrind's Idea of Education' 1 79 
 
 Grief 166 
 
 "Grizzlies, Four Little" ..... 139 
 Grouping . 
 
 Nasality 198 
 
 "Navarre" .... 190 
 
 "Night Has a Thousand Eyes" . 114 
 
 Hardness . . 150 
 
 Haughtiness . . . 150 
 
 Hesitation 70, 130 
 
 "Honor of George G. Lake, The" 176 
 "Hospitable Grumbler, A" ... 24 
 
 "House Snake, The" 59 
 
 "Howard, General" 26 
 
 Impulsive Volition 181 
 
 "In the Tiger Jungle'' 191 
 
 Indicate 94 
 
 Inflection 126 
 
 Inquire 98 
 
 Insistence 182 
 
 Intensity 163 
 
 Interpretation 6, 7 
 
 "Jean Valjean" 142 
 
 "John Maynard" 10^ 
 
 "Joseph Meets Benjamin" .... 171 
 
 Judging Speakers 197 
 
 "Juggler, The Hindu" ...... 153 
 
 "Kindness of Boaz, The" 172 
 
 "King, A Courageous" 163 
 
 "Last Duchess, My" 179 
 
 "Liberty and Union" ....... 135 
 
 "Lincoln and the Dying Boy" . .162 
 "Lincoln's Second Inaugural 
 
 Address" 117 
 
 "Lochinvar"' . 46 
 
 "O'Connell" . . ... 
 "Old Rose Blouse, The 
 "Opportunity" 
 
 172 
 160 
 
 27 
 
 Paraphrase ......... 15. 21, 67 
 
 "Patrick Henry's Address" . . . 18 
 "Patrick Sweeny" . ..... 63 
 
 "Peter the Great" ........ 63 
 
 "Physician, The Considerate" . . n 
 Pitch ............. 58, 126 
 
 "Policeman Griffenhagen" . ... 84 
 
 "Power of the People, The" . . .140 
 Presentation . 37, 57, 67, 102, 106, no 
 Pressure of Tone . . .62, 181, 184, 187 
 Protect .............. 100 
 
 "Providential Guest, The" . ... 9 
 
 "Psalm 100" ........... 173 
 
 Psychology of Speech . .... 37 
 
 Pure Tone ... . . ....... 138 
 
 Purpose .............. 34 
 
 Quality of Tone. . .61, 138, 146, 150 
 "Quality of Mercy, The" ..... 39 
 Question ............. 132 
 
 "Ratcatcher, The Brazilian" ... 59 
 Rate of Speaking ....... 57, 102 
 
 Reach of Voice .......... 195 
 
 "Reading Signs" ......... 133 
 
 Reasoning ....... 38, 58, 67, 126 
 
 "Recessional" .......... 154 
 
 Recoil ............... 74 
 
 Reject ............... 96 
 
 Repose ..... ......... 73 
 
 Reproof ............ 73. 150 
 
 Reveal .............. 95 
 
 "Rich for a Wink" ........ 190 
 
 "Robinson Crusoe's Fright" . . . 152 
 
 Majestic Volition 187 
 
 "Mark Antony's Speech" .... 49 
 
 "Marmion and Douglas" 74 
 
 "Meeting at Night" 177 
 
 Merriment T 66 
 
 Momentary Completeness; .... 127 
 Moods . . 34, 37, 42, 56, 57. 67, 102, 108 
 
 Mould 99 
 
 "My I y ast Duchess" J79 
 
 Score Card 197 
 
 Seeing 137- 1 5& 
 
 "Signs, Reading" 133 
 
 Sore Throat 198 
 
 "Spartacus to the Gladiators" . . 43 
 
 Stammering 199 
 
 Stedfastness 70 
 
 Stealthiness 159 
 
 Stern Feeling 150 
 
 [206] 
 
"Stone, lyiicy" . . . 
 "Street Car, On a" . 
 Stress 
 Suggestions 
 
 138 
 24 
 
 . 62. iHi, 184, 187 
 .... 198 
 
 "Sunrise" 
 Surrender 
 Swaggering 
 "Symphony, My" . . 
 "Sweeny's Courage" 
 
 Tenderness . . 
 
 148 
 96 
 69 
 28 
 63 
 
 162 
 
 Texture of Tone 
 
 196 
 
 "Tiger, The" .... 
 Tone-color 
 Transition 
 
 159 
 196 
 
 'True Kings of the Earth, The" . 15 
 
 "Trusting the Guide'' ...... 153 
 
 Tumultuous Volition 188 
 
 Types of Utterance, see Moods of. 
 
 ... 34, 37, 42, 56, 57, 67, 102, 108 
 
 Uphold 98 
 
 Uplifting Volition 184 
 
 "Valjean, Jean" 142 
 
 "Vase. The Unbroken" 58 
 
 Voice, Reach of, Power of .... 195 
 Volition . 40, 62, 67, 181 
 
 "Waterloo" 57 
 
 Weariness 156 
 
 "Welcome to Alexandra" .... 185 
 
 "Witness Caught, The" 59 
 
 "Wolsev's Farewell" . 12 
 
 [207] 
 
THIS BOOK IS DTTE ON THE LAST DATE 
 STAMPED BELOW 
 
 AN INITIAL 
 
 25 CENTS 
 
 NOV 26 1935 
 
 
 
 ^WA-iajflffl 
 
 r 
 
 LD 21-ioOm-7,'33 
 
393942 
 
 UNIVERSITY OF CALIFORNIA LIBRARY