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