ECLECTIC EDUCATIONAL SERIES. DIALOGUES AND HLOCUTION. The School Stage. A new collection of Juvenile Acting Pla\ .. lly W. II. Venable. For Little Children. Plain aiul full direc- tions relating to Costume, Properties, and Slo'^e Busi- ness. Illustrated. The Amateur Actor, Over twenty choice Acting Plays, selected from stand- ard English authors. By W. H. Venable. For Young People. Full and lucid descriptions and explanations. Illustrated. Dramas and Dramatic Scenes. Edited by W. H. Venable. Twenty Plays, selected from the writings of standard authors. Adapted to .school and home exhibitions, and to the use of advanced classes in reading. Illustrations by Faknv. i2mo, cloth, 236 pp. Elocution and Vocal Culture. With numerous Exercises in Reading and Speaking. By Robert Kidd, A. M. i2mo, cloth, 480 pp. McGuffe/s New Juvenile Eclectic Speaker. Improved edition. 200 easy and animakd Exercises for Reading or Speaking. 228 pp. McGuffe/s New Eclectic Speaker. 300 master-pieces from the very best sources of Ameri- can and English Literature. i2mo, cloth, 504 pp. ECLECIIC EDUCATIONAL SERIES. THE STUDY OF ENGLISH HISTORY. :>J«« From the Preface to Tlialheimers History of England. The increasing study of History in our schools is doubtless a hopeful sign for the future of the Republic. A free government depends for its honor, if not for its very life, upon a well balanced national character ; and this caii hardly cxibt without some general knowledge of the recorded experience of mankind. And, surely, the history of which we can least aflbrd to be ignorant is that of our mother country. That branch of the great German race which was planted fourteen centuries ago on British soil, grew, under unexceptionally favoring influences, to be the admiration of the world. The his- tory of the long series of popular conquests, nobly won and firmly held, — from Magna Charta to that Bill of Rights which was the prelude to our own Declaration of Independence — con- tains a fund of political wisdom u lili li no nation, and ours least of all, can afford to neglect. . We do well to remem- ber that English History is, in :i vci v special sense, our own ; and it is difficult to imagine how the spirit of American institu- tions can be understood without some knowledge of the circum- stances in Great Britain which led to the formation, and after- ward to the independence, of our earliest States. Though a large and honorable mass of our citizens are of other than English descent, yet it is English freedom — the slow and sturdy growth of many centuries — that they or their fathers have sought to enjoy under the shelter of the great Republic; — this new slip, severed a hundred years ago from the parent tree, only that it might extend new roots and branches in a broader field and under still freer heavens. Would that the study of the glorious centuries of English History might convince some young mind that the sei-vice of the fatherland is not the degrading affair of selfish interest and greed which some would make it, but the grandest of all opportunities to serve God, win a noble name, and benefit our race! * History of England. By M. E. Thalhf.imer, author of Ancient and Medieval and Modem History. lamo., cloth, 288 pp. Illustrated VOCAL CULTIUE AND elocutio:n': WITH NUMEKOUS KXERCISES iS READING AND SPEAKLNG. BT Pi: 1 ROBERT KIDD, A.M., '1 ntTRVCTOB or SLOCI'TIOM IS PaUKCKTON THEOLOGICAL 8SXINAST. VAN ANTWT:RP, BRAGG & CO., 137 WALNUT STREET, 28 BOND STREET, C INC INN A Tl. xr. ;r 1 V ) /o a* • ' * ^ « . ,« %'^{,^ dK ^ -p EDUCATION DEPT, Entered according to act of Congress, in the year 1867, by ROBERT KIDD, in the Clerk's OflBce of the District Court of the United jJ bates foi the Southern District of Ohio. Stcreotyred Ht the Franklin Type Foundry. PREFACE The Elementary Treatise embraced in this volume em- bodies the views of the compiler on elocutionary instruc- tion. These views are the result of careful study and observation, and long experience as a practical teacher of he subjects discussed. The primary object in the preparation of this work has been to place in convenient form for use, those principles, rules, illustrations, and exercises, which, for purposes of instruction, have been found best calculated to make good readers, and easy, graceful, and correct speakers. It is hoped that this system of instruction, which has been long and successfully pursued by the compiler, may, in the hands of others, prove a valuable aid in the cultiva- tion of the voice and the art of reading and speaking. The leading feature of this treatise, and that claimed as distinguishing it from other similar works, is the import- ance given to the subject of vocal culture, without a proper attention to which success in elocution and oratory is unattainable. The rules and exercises in this department will be found full and complete. The selections for reading and declamation have been made with reference to their fitness to exemplify the princi- ples discussed in the elementary portion of the work, or to illustrate the various styles of reading, declamation, and oratory. 5 ivi209495 CONTENTS PAOK. Elocution 11 Breathing 12 Elementary Sounds 12 Definition of Terms 15 Pure Tone 17 Position of the Organs 18 Articulation 19 Modulation 25 Emphasis 85 Cadence 87 Commencing Series 38 The Parenthesis 40 Rhetorical Pause 41 PAOS. Antithesis 46 Climax 46 Amplification 49 Transition 50 Emphatic Repetition ... 52 Interrogation 53 Pitch 65 Force 59 Quantity, — MoTcment 62 Exclamation 65 Personation, — Style 66 Gesture 67 Language of the Passions 71 NARRATIVE AND DESCRIPTIVE. BXKBCISE. PAGE. 1. A Providential Guest ... 93 2. The Heart's Charity 94 8. Loss of Central America. 96 4. The Pass of Death 98 5. Blacksmith of Ragenbach 99 6. The Life Boat 101 7. The Miser 102 8. Ocean Life 104 10. Hassan, the Camel Driver 106 11 . Forty Years Ago 109 12. The Fatal Falsehood 110 13. The Cynic 113 14. The Field of Waterloo. . .114 16. Varieties in Prose 116 16. Poetical Selections 118 17. Death of Morris 120 18. Poor Little Jim 122 19. The Sunset of Battle 123 20. Poetical Selections 125 (vi) EXERCISE. PAGE. 21. Anecdotes 126 22. Poetical Selections 128 23. False Witness Detected.. 130 24. Poetical Selections 133 25. Anecdotes 135 26. Hate of the Bowl 137 27. Steam Engine 138 28. Nature's Gentleman 141 29. The Barometer 142 30. Leap for Life 144 31. The Demagogue 145 32. Poetical Selections 147 33. Whaleship and Cannibals 148 34. After a Tempest 150 35. Anecdotes 151 36. Marco Bozzaris 153 37. Anecdotes 155 38. Absalom 157 39. The Irish Peasantry 158 CONTENTS. VU DIDACTIC PIECTES. KXiRCISB. PAGE. 40. Industry and Eloquence.. 161 41. Awake to Effort 1G2 42. Cheerfulness 164 48 Varieties in Prose 166 44 Poetical Selections 167 46. Varieties in Prose 169 46. Personality of a Laugh. .171 47. Do n't Run in Debt 173 48. No Excellence without La- bor 174 49. Where there 's a Will there 's a Way 176 60. Varieties in Prose 176 6?. Good Temper 178 62. Oppooite Examples 179 5S. Adircss to the Indolent. .181 M. Variciies in Prose 182 60 Paalm of Life 184 6"' Varieties in Prose 185 EXKRCISE. PAOR. 67. What '11 They Think 186 68. Paddle Your Own Canoe. 187 69. Varieties in Prose 189 60. Poetical Selections 190 61. Varieties in Prose 192 62. Literary Pursuits 193 63. Opportunity for Effort... 194 64. Suppose 195 66. The Spider and the Fly . .196 66. Parallel between Pope and Dryden 197 67. Condition of Man Vindi- cated 198 68. Advice to Preachers 200 69. Poetry of Science 201 70. Early rising conducive to Health 202 71. Oratory 208 72. Flowers 205 MORAL AND RELIGIOUS. 73. Inspiration of the Bible. .207 74. Poetical Selections 208 76. Varieties in Prose 209 76. Suspense 211 77. Telescope and Microscope 212 78. The Unseen Battlefield.. .216 79. Varieties in Prose 216 80. God, the Source of Conso- lation 218 81. "We'll All Meet Again in the Morning." 218 W. 92. 98. 94. 96. 82. Tell me, ye Winged Winds 220 83. Survey of the Heavens. . .221 84. Defense of Pulpit Elo- quence 222 85. Poetical Selections 225 86. Infidelity Tested 227 87. Religion the only Basis of Society 228 88. The Celestial Army 229 89. The Promises of Religion to the Young 231 SENATORIAL. Spirit of the American Revolution 283 On Reform in Parliament 286 Reply of Mr. Pitt. 236 American Laborers 288 Last Speech of Emmet. . .239 Against American War. .241 96. Arbitrary Power not given to Man 242 97. Barbarity of Nationa? Hatreds 24« 98. Varieties in Prose 246 99. Speech of Patrick Il-nry 247 100. Varieties in Prose 250 Vlll CONTENTS. KXERCISB. PAOB. 101. Nobility of Labor 251 102. Right to Tax America. .253 103. Fate of the American In- dians 254 104 Model for the Formation of Character 256 106. Supposed Speech of John Adams 257 106. Ambition of a Statesman 259 107. Speech in Conyention of Virginia 260 108. Ignorance in our Coun- try a Crime ...262 109. Rebellion and Revolu- tion 263 110. Political Corruption 264 111. Extension of the Repub- lic 266 112. Speech of James Otis. . .267 113. The Age of Reason 268 114. Reply to Mr. Corry 269 116. On Sudden Political Con- versions 270 BXBRCISE. PAOB 116. Invective against War- ren Hastings 272 117. Popular Elections 274 118. Oration against Verres.275 119. Oration against Catiline 276 120. Degeneracy of Athens.. 277 121. On Reduction of Revenue 278 122. Patriotic Sclf-Sacrifice. .280 123. South Carolina and Mat»- sachusetts 281 124. Passing of the Rubicon.. 283 125. Napoleon Bonaparte 284 126. The Stability of our Gov- ernment 286 127. Against Curtailing th3 Right of SuflFrage 287 128. To the American Troops before the Battle of Long Island 23.' 129. Liberty and Union 2?*: 130. Death of J. Q. Adams. .29f 131. Moral effects of Intem- perance 292 DRAMATIC AND RHETORICAL. 132. Bernardo Del Carpio.... 293 133. Philip Van Artevelde to the Men of Ghent.... 295 1 34. Varieties in Verse 296 135. Marmion Taking Leave of Douglas 297 136. Ode on the Passions. . . .299 137. Antony's Oration over Caesar 301 138. Varieties in Verse 304 139. Hamlet's Soliloquy 305 140. The Maniac 30G 141. Rolla's Address to the Peruvians 307 142. Soliloouy of the King of Denmark 308 143. V arieties in Verse 309 144. Soliloquy of a Drunkard's Wife 311 145. Catiline's Defiance 312 146. Marullus to the Roman Populace 314 147. The Miser Punished 314 148. On the Death of Caesar. 316 149. The Baron's Last Ban- quet 317 150. Song of the Greeks 819 151. Warren's Address at Bunker Hill Battle.. 320 152. Tell on his Native Hills 321 153. Bruce's Address ..822 154. Macbeth to the Dagger. .322 155. Spartacus to the Gladia- tors at Capua 323 CONTENTS. IX CXeRC:SE. PAGE. 156. Woolsey's Fall 325 167. The Rum Maniac 326 158. Battle Hymn 328 159. Kocks of my Country.. .328 100. Brutus, on the Death of Lucretia 829 161. Varieties in Verse 330 162. Othello's Apology 332 163. Hotspur's Description of a Fop 334 16-J. The Gambler's Wife 335 165. Cassius against Caesar. .336 1 Ilienzi's Address to the Romans 338 167. The Sailor Boy's Dream. 339 168. Henry V. at Harfleur...341 169. Seven ages of Man 841 1 70. Parrhasius 342 171. The Seminole's Defiance. 344 EXERCISE. P.VOE. 172. Love of Country 345 173. Varieties in Verse 846 1 74. From Lalla Rookh 349 176. Moloch and Satan 350 176. The Fireman 351 177. The Dying Brigand. .. 853 178. Soliloquy from Manfred. 854 179. Ginevra 855 180. Excelsior S57 181. Soliloquy of Richard III . 868 182. Moonlight and Music... 359 183. The Isles of Greece 360 184. Varieties in Verse 361 185. Lochiel's Warning 863 186. Song of the War 866 187. Charge of the Light Bri- gade 866 188. Lord Ullin's Daughter. 867 AMUSING. 1 Widow Bcdott to Elder Sniffles 369 190. The Lavin'— A Poe-m...371 191. Dr. Bashaw's Oration.. .374 I'tJ. The Apple Dumplings and George the Third 374 193. The Directing Post 376 194. Parody,— The Old Oaken Bucket 876 195. Lyceum Speech of Mr. Orator Climax 877 196. The Whiskers 878 197. Eloquence in a Western Court 881 198. Poetry Now-a-days 882 199. Daniel versus Dishcloth . . 388 200. Housekeeper's Soliloquy 886 201. The Rejected 887 202. The Confession 388 203. Tlie Bachelor's Soliloquy 889 204. Inexperienced Speaker. .3be 205. The Frenchman and the Rats 390 206. Borrowed Nails — Heads and Points 891 207. Fourth of July Oration. 892 208. Mr. John Smith's Will. .393 209. Examination of a Wit- ness 896 210. Mrs. Caudle's Lecture.. .897 211. Charge to the Jury 398 212. Truth in Parenthesis.. . .399 218. The Modern Belle 400 214. Orator Puff 401 216. Nobody's Song 402 216. Coquette Punished 408 217. The Lost Pantaloons 40b 218. Stump Spooch . . .406 219. Parody on Hamlet's Solil- oquy. 407 CONTENTS CXRBCISE. PAGE. 2l'0. Charge of a Dutch Mag- istrate 408 221. The Nantucket Skipper. 409 222. The Frog 410 223. Parody on the Burial of Sir John Moore 410 224. The Hypochondriac 411 225. Buzfux versus Pickwick. 413 226. Socrates Snooks 41G 227. Varieties in Verse 417 228. Fuss at Fires 419 229. Praying for Rain 420 230. The Dapple Mare 422 231. First Appearance in type 424 232. Love and Physic 425 233. Varieties in Ver«e 427 234. The Old Hat 429 235. The Three Black Crows. 431 236. Char-co-o-al 1 432 MISCELLANE 253. The Old Arm Chair. . . .455 265. 254. Political Integrity .456 266. 255. Who shall Judge a Man ? 457 207. 256. Highland Mary .458 268. 257. The Rook and the Lark ..459 269. 258. The Old Man Dreams . .400 270. 259 The Sniveler .461 .462 260. The Last Footfall 271. 261. Varieties in Verse .463 272. 262. The Isle of Long Ago. . .465 273. 263. Llewellyn and his Dog. .466 274. 264. The Chambered Nautilus 467 KXERCISE. PAOl 237. All Tipsy but Me 4SS 238. Effects of Influenza 484 239. Bobadil's Military Tac- tics 435 240. Speech Obituary 435 211. Thanksgiving Dinner.. 437 242. The Mysterious Walker 441 243 Pleading Extraordinary 442 244 The Farmer and the Counselor 444 245. The Modest W:i 446 246. The March of Intellect. 446 247. A Tea Party 447 248. There once was a Toper 449 249. Yes or No 450 250. Queries 451 251. Deacon Stokes 462 252. The Drunkard's Resolu- tion 454 The Power of Habit 468 E Pluribus Unum 470 The Union 471 Esto Perpetua 473 Lay of the Madman 474 Love, Murder, and Mat- rimony — Almost ,476 The Miser and Plutiis. .477 Recollections 478 Little by Little 47'cJ F m With You Once Again 480 • • • V ELOCUTION. Elocution is the art of reading and speaking correctly. Ita rules relate chiefly to the management of the voice in the expression of thought and emotion. , The vocal qualifications, necessary to enable the teader )r speaker to bring out the sense and sentiment of dis- jourse in a pleasing and impressive manner, are: — First, A clear, futl, resonant voice. Second, A perfectly distinct, and correct articulation. Third, Such a control of the voice, as to be able to vary its modulations at pleasure. Ignorance of the right way of using the lungs and the larynx, in speaking, reading, and singing, has caused more cases of bronchitis and pulnionary consumption among students, vocalists, clergymen and other public speakers, than all other causes combined. The right use of the breathing apparatus, in connection with the exercise of the voice, ought, therefore, to be the first subject to which the attention of the student of FAo* cution is called. Before the pupil is permitted to read a sentence, he must be taught, not by precept, but by exam- ple, how to manage the breath while exercising the voice. The child thus trained will speak, read or sing, in a clear, full, natural tone, and will grow up, in a great mcas* are, free from the worst faults and defects in Elocution. 11 • • • ^'.i: * .: : f ;\ ''blooution. BREATHTNG. Stand or sit erect; keep the head up and the chest ex- panded; throw the shoulders well back; place the handa upon the hips, with the fingers pressing upon the abdomen, and the thumbs extending backward; inhale the breath ilowly, until the lungs are fully inflated, retaining the breath for a few moments, then breathing it out as slowly as it was taken in. Let the chest rise and fall freely at every inspiration, and take care not to make the slightest aspirate sound, in taking in or giving out the breath. Continue to txike in and throw out the breath with in- creasing rapidity, until you can instantly inflate, and, as suddenly, empty the lungs. Repeat this exercise several times a day, and continue it as long as it i< unattended with dizziness or other unpleasant feelings. ELEMENTARY SOUNDS. The Elementary Sounds of the English Language are classified under three great divisions: First, the Vocals; Second, the Suhvocah; Third, the Aspirates. VOCALS. Vocals consist of pure tone, and are subdivided into monothongs, which have the same sound from the com- mencement to the close; into the dipthongs, which begin with one sound and end with another; and into the short Tocals, which differ from the monothongs only in the man ner in which they are uttered. SUBVOCALS. The subvocals possess vocality, but in an inferior degree and, in all of them, the vocalized breath is more or lesa obstructed. V ULTURE. 13 The 8ubvocaIs are divided into the correlatives, each of which terminates in an aspirate sound ; into the nasals, in which the vocalized breath is passed through the nasal pas- sage; into the liquids, so called from their special depend- ence upon the tongue; and into the coalescents, from their readily uniting with the vocal sounds. ASPIRATES. The aspirate sounds have no vocal tone, and, conse- uuently, differ most from the vocals. They arc divided into '.ho explodents and the continuants. C HART OF THE ELEMENTARY SOUNDS SINGLE OPEN VOWEL SOUNDS OR MONOTHONGS. 1. e, as heard in me, eve, thee, free, &c. 2. ;i. " ale, may, thcj, pay. o. a, as heard before r, in care, there, air, pear. 4. a, a in arm, bar, hard, ma. 5. aw, u law, awe, jaw, saw. 6. o, u no, woe, own, home. 7. 00, u ooze, fool, moon, room. SHORT VOCALS. 8. i. :is in it, will, live, give, pit. 9. e, let, debt, end, deck, pet. 10. e. err, verse, serve, sir, fir. n. «'> add, mat, slab, past, bad. 12. o, on, rob, log, dog, cot. 13. u, ii|>, out. -iin, but, sup. 14. oo, foot, soot, booV ' 14 ELOCUTION. DIPHTHONGS, OR DOUBLE VOWELS 15. 1, as in die, sky, try, fie, lie. 16. oi, it coil, joy, boy, oil. 17. ow, u now, vow, owl, proud, 18. u, u few, new, due, view. ELEMENTS OF WHICH THE DIPnTHONG^U. SOUNDS ARE MADE UP. I is composed of the eleventh and first sounds; Oi, of the twelfth and first; Ow, of the twelfth and sevcntli; ynd U, of the eighth and seventh sounds. SUBVOCALS. CORRELATIVES. 19. D, as in babe, web ; b stops with the light sound of p. dead, had, bed; " gag, dog, wag ; " wedge, badge, judge; valve, wave, live; thee, thou, breathe; zeal, ooze, size ; pleasure, azure, measure; NASALS. nun, one, on, moon, maim, home, me, come, bring, thing, singing, sting. LIQUIDS. 30. 1, as in hill, shall, well, all. 31. r, (the hard or trill sound) as in rise, drum, roar. 32. r (the soft sound) at the end of the word, as in roat fear. 20. d, (( 21. g, « 22. j, (( 23. V, (( 24. th, a 25. z, (( 26. zh, a 27. n as in 28. m, (( 29. ng, (( (( « t. C( u k. i( u ch. (( u f. u il th. (( i' s. re; « sh. VOCAL CDLTURK. 16 OOALESCENTS. 33. W, as in we, way, was, wit. 34. J, " ye, you, yet, yes. 35. P» as in 36. t, u 37. k, u 38. ch, as in 39. f, ti 40. th, (( 41. s, a 42. sh, 11 43. h, « 44. wh, (( ASPIRATES. EXPLODENTS. pipe, cap, rope, step, pop. it, met, spot, that, rot. back, thick, kick, deck, neck. CONTINUANTS. church, which, wretch, life, stiff, laugh, fife, think, three, breath, thing, see, pass, hiss, this, shame, wish, crash, dash, horse, home, he, hence, whence, where, what, which. As the words Pitchy Force^ Stress^ Quantity, Qualify^ Movement, and other terms will frequently occur in the exercises upon the elementary sounds, it is proper at this point to define them. PiTcn signifies the place in the musical scale on which the clement, syllable, or word is sounded; or it may refer to the pervading pitch of the voice in reading or speaking. The following distinctions may be made in pitch: very low, low, middle, or conversational, high, and very high. Force relates to the loudness of the sound, the degrees of which may bo described as suppressed, subdued, mod- erate, energetic, and vehement. Stress relates to the diflferent modes of applying force. Monotone. When the pitch of the voice oontinuos the 16 ELOCUTION. Bamc, and when the same degree of force is kept up from the commencement to the close of the sound, it is called the monotone. Swell. When the force is gradually increased so as to swell out the sound as it advances toward the middle, and then as gradually vanishes into silence, it is called the Bwell, or medium stress. Expulsive Ra.dical Stress. In this the force is ap- plied so as to swell out the first part of the syllable or sound, and gradually diminish on the vanishing part of the sound. Explosive Radical Stress occurs when the first part of a syllable is given with great abruptness and percussive force. The short vocals when uttered in this way furnish examples of it Vanishinq Stress occurs when the sound gradually ex- pands as it swells onward, then suddenly terminates with a vocal explosion, similar to that heard in the explosive radical stress. Quantity relates to the length of time the voice dwells upon a syllable or word. The following passage, if prop- erly expressed, will furnish an example of long quantity: "Woe unto thee, Chorazin ! Woe unto thee, Bethsaida!" — and the following, of short quantity, if uttered in a tone of excitement and defiance : " Fret, till your proud heart breaks 1" Quality relates to the kind of voice. The words com- monly used to describe it aie, clear, husky, harsh, mellow, rough, smooth, deep, thin, heavy, light, boyish, girlish. Movement relates to the degree of rapidity with which the voice moves in the utterance of sounds, syllables, and words. The degrees of rapidity are, very slow, slow, mod- erate, lively, rapid, and very rapid. The rules and exercises in Elocution may be classified under the two princioal heads of VOCAL CULTURE. 17 ARTICULATION AND EXrUESSION. Articulation includes the rules and exercises upon the /ilcnientary sounds in syllabication, in analysis, in accent, ind in pronunciation. Expression includes the rules and exercises which relate to the management of the voice, the look, gesture, and action, in the expression of thought, sentiment, and passion. The exercises in articulation are those to which the at- tention of the pupil should be almost exclusively given, until a good control of the voice has been obtained. A good articulation consists in giving to each element in a syllable its due proportion of sound and correct ex- pression, so that the ear can readily distinguish every word, and every syllable that is uttered. A full, pure tone of voice, and a good articulation, con- stitute the basis of every other excellence in reading and oratory. PURE TONE. Pure Tone is expressed with less expenditure of breatn than any other quality of voice; it is smooth, resonant, and agreeable, and entirely free from any aspirated, gut- tural, or other impure quality of vocal sound. The most severe and sustained exercise of the voice in pure tone, if the voice be pitched aright, is not only un- attended with any bad effect upon the lungs and throat, but, on the contrary, tends to strengthen and invigorate them, and fortifies the wlndc svstiMu nirainst the invasion of disease. To commaiKi a luii, resonant, and pure tone of voice, these conditions are indispensable: — Firsts a full and copious breathing, as described in ex- ercises 1 and 2. Secondy a free and iiitinal action if the abdominal muscles, in the inhalation and expulsion of the breath. Kinn.— 2 18 ELOCUTIOK. Thirds the muscles which regulate the action of the jaw must be relaxed. Fourth, the throat and the mouth must be kept well open, so as to give free course to the sound. Any one who expects to derive practical benefit from the following rules and exercises, must study them carefully iud practice them regularly, systematically, and energct ically. Begin with the first rule, and master it so thor oughly that you can readily give a correct exemplification of it; then take up the next rule and its accompanying exercises, and so proceed to the last example in the book. POSITIONS OF TiiE TEETH AND LIPS IN THE UTTERANCE OF THE DIFFERENT OPEN VOWEL SOUNDS. In sounding element No. 1, the teeth must be separated about half an inch, and the corners of the mouth drawn well backward. In No. 2 the teeth must be separated, at least three- quarters of an inch, and the corners of the mouth drawn farther back than in No. 1. In No. 3 the teeth must be separated a little farther still, and the opening of the mouth must be more enlarged than in No. 2. In No. 4 the mouth must be thrown wide open, and the corners drawn still farther back than in No. 3. In No. 5 the teeth must be separated about the same distance as in No. 4, the lips pressed forward and the aperture of the mouth diminished. In No. 6 the teeth must be brought nearer together, the lips pressed farther out, and the aperture of the mouth made much smaller than in No. 5. In No. 7 the lips must be pressed farther outward, and more tightly together than in No. 6. To FIND THE Exact Sound op any Element. — Stand or sit perfectly at ease, drop the jaw, so as to keep the throat and mouth open, then- take in a full breath, draw the VOCAL CULTURE. 10 muscles of the abdomen as far back as possible, retain the breath for a few moments, then express in a full, aflfirraative tone, any word of one syllable that terminrit*^? with the sound in question. Continue to dwell upon the last sound in the syllable as lung as possible, without changing its character or varying the position of the organs of speech, in the slightest degree. When you can thus express all the sounds with tolerable accuracy, next reverse the position of the sounds, in the syllable or word, and practice upon them in that connection. (Continue this exercise, at least once a day, until the ear becomes so accustomed to the true sound of each of the elements, as to be able instantly to detect it, no matter by what letter or letters the sound may be represented in the syllable or word. Do not exert yourself at first, to express the sounds in a very loud and forcible manner. Take it easily and go slowly at the beginning, and you will soon be able to vo- calize with great force, in a full and pure tone of voice. EXERCISES IN ARTICULATION. EXERCISE L Give each of the open vowel sounds in connection with tlie subvocals, as arranged in the accompanyini; table, in a full, pure, resonant, affirmative tone. 1 2 8 4 5 7 t/> l(i 17 18 T*; 71, It. U. aw, 7J, oo, i. oi. ow, tT. Be, ba, ba, ba, baw, bo, boo, bi, boi, bow, bu. De, da, da, da, daw, do, doc, di, del, dow, du. Co, ga, ga, ga, gaw, go, goo, gi, goi, gow, gu. Je, ja, ja, ja, jaw, jo, joo, ji, joi, jou, ju. Ve, va, va, va, vaw, vo, voo, vi, voi, vow, vu. Tlie, tha, tha, tha, thaw, tho, thoo, thi, thoi, thou, thu. Ze, za, za, za, zaw, zo, zoo, zi, zoi, zoii, zu. Zhe, zha, zha, zha, zhaw, zho, zhoo, zhi, zhoi, zhou, zhu. No, TIM. V. ';0\v. 111!. 1?0 BLOCUTION. Me, ina, ma, mn. mo, moo, mi, moi, mow, mu. (The element ny never begins a syllable.) Le, la, la, la, law, lo, loo, li, loi, low, lu. Re, ra, ra, ra, raw, ro, roo, ri, roi, row, ru. 'The soft sound of r never begins a syllable.) We, wa, wa, wa. waw, wo, woo, wi, woi, wow, wu. Te. ya, ya, yn. yo, yo- a, yow, yu. EXERCISE II. Reverse the position of the elements in the syllables giving the vowel sound first. In this exercise dwell as lon^ as possible upon the sub- vocal in 20 ^j :4 i-j CO i'4 -dh 4i9 S<> "• •"•'?? 3 34 b, d, g th, z, zh, n, m, ng, 1. w, y. Eb, ed, eg, ej, ev, eth, ez, ezh, en, cm, eng, el, er, — ew, ey. Ab, ad, ag, aj, av, ath, az, azh, an, am, ang, al, ar, — aw, ay. Ab, ad, ag, aj, av, ath, az, azh, an, am, ang, al, ar, — aw, ay. Ab, ad, ag, aj, av, ath, az, azh, an, am, ang, al, ar, — aw, ay. Awb, awd, awg, awj, awv, awth, awz, awzh, awn, awm, awng, awl, awr, — aw, awy. Ob, od, og, oj, ov, oth, oz, ozh, on, om, ong, ol, or, — ow, oy. Oob, ood, oog, ooj, oov, ooth, ooz, oozh, oon, oom, oong, ool, oor, — cow, ooy. lb, id, ig, ij, iv, ith, iz, izh, in, im, ing, il, ir, — iw, iy. Oib, Old, oig, oij, oiv, oith, oiz, oizh, oin, oim, oing, oil, oir, — oiw, oiy. Owb, owd, owg, owj, owv, owth, owz, owzh, own, owm owng, owl, owr, — ow, owy. Ub, ud, ug, uj, uv, uth, uz, uzh, un, um, ung, ul, ur. EXERCISE III. Give each of the short vocals, in connection with the accompanying subvocals, as in Exercises I. and II. Prac- VOCAL CULTURE. ?! the syllables until the vocal element can >^e uUoieJ with a sharp, ringing sound, like the explosion of a percussion cap. EXERCISE TV. Give each of the aspirates in connection with the accom- f anying open vowel sounds : thus, 1 2 8 4 5 6 - ir> 16 17 1» e, a, a, a, aw, o, oo, i, oi, ow, u. Pe, pa, pa, pa, paw, po, poo, pi, poi, pow, pu. To, t:i, t;i, t;i, taw, to, too, ti, toi, tow, tu. Ko, ka, ka, ka, kaw, ko, koo, ki, koi, kow, ku. Che, cha, cha, cha, chaw, cho, choc, ohi, choi, chow, chu. Fe, fa, fa, fa, faw, fo, foo, fi, foi, fow, fu. The, tha, tha, tha, thaw, the, thoo, thi, thoi, thow, thu. Se, sa, sa, sa, saw, so, soo, si, soi, sow, su. She, sha, sha, sha, shaw, sho, shoo, shi, shoi, show, shu. He, ha, ha, ha, haw, ho, hoc, hi, hoi, how, hu. Who, wha, wha, wha, whaw, who, •whoo, whi, whoi, whow, whu. EXERCISE V. Reverse the position of the elements in the syllable, first giving the open vowel sound, then the aspirate sound: thu?<, 85 86 87 8S 89 40 41 42 43 44 p, t, k, eh, f, th, s, sh, h, wh. Ep, et, ek, ech, ef, eth, es, esh, eh, ewh. Ap, at, ak, ach, af, ath, as, ash, ah, awh. Ap, at, ak, ach, af, ath, as, ash, ah, awh. Ap, at, ak, ach, af, ath, as, ash, ah, awh. Awp, awt, awk, awch, awf, awth, aws, awsh, awh, awwh. Op, ot, ok, och, of, oth, OS, osh, oh, owh. Oop, not. ook, ooch, oof, ooth, oos, oosh, ooh, oowh. I J ik, ich, if. ith, is, ish, ih, iwh. Oij», •; . oik, oicli, oil', oith, ois, oish, oili, oiwli ELOCUTION Owp, owt, owk, owch, owf, owth, ows, owsh, owh, owwh. Up, ut, uk, uch, uf, uth, us, ush, ah, uwh. EXERCISE yi. Give each of the aspirate sounds, in connection with each f the short yotals, with explosive force: thus, 8 t 10 11 12 13 14 h e, e, a, 0, u, 00. Pi, pe, pe, pa. po, pu. poo. Ti, te, te, ta. to. tu, too Ki, ke. ke, ka, ko, ku. koo. Chi, che, che, cha, cho. chu. choo. Fi, fe, fe, fa, fo, fu, foo. Thi, the. the, tha, the. thu. thoo. Si, se. se. sa. so, su. soo. Shi, she, she. sha. she, shu. shoo. Hi, he, he, ha, ho. hu, hoo. Whi, whe. whe. wha. who. whu. whoo EXERCISE VII. Reverse the position of the sounds in the syllables, giv- ing the short vocal first, and the aspirates last: thus, 85 80 87 86 89 40 41 42 43 44 p, t, k, eh, f, th, s, sh, h, wh. Ip, it, ik, ich, if, ith, is, ish, ih, iwh. Ep, et, ek, ech, ef, eth, es, esb, eh, ewh. Ep, et, ek, ech, ef, eth, es, esh, eh, ewh. Ap, at, ak, ach, af, ath, as, ash, ah, awh. Op, ot, ok, och, of, oth, OS, osh, oh, owh. Up, ut, uk, uch, uf, uth, us, ush, uh, uwh. Oop, oot, ook, ooch, oof, ooth, oos, oosh, ooh, oowh. In the preceding exercises each sound must be expressed separately, with great force and precision, before the syl- VOCAL CULTURE. 23 lable is given. On giving the element by iiself, the student bUouM name over, at least three words in which it occurs: thus, K, as in me, cue, and sea; M, as in more, come, and roam; Sh, as in shame, hush, and crash. In giving the syllables, take great pains to bring out all the sounds in a distinct and proper manner. EXERCISE VIII. EXERCISE UPON WORDS CONTAINING DIFFICULT COMBINA- TIONS OP THE SUBVOCAL AND ASPIRATE SOUNDS. First, give each sound by itself; then, connect the first element with the second; next, give the first, second, and third, separately ; then, in combination, at a single utter- ance. Proceed thus to the end of the word. EXAMPLES. 1)(] : Orb'd, prob'd, rob'd, rub'd, sob'd. bdst : Prob'dst, fibMst, dub'dst, bob'dst, sob'dst. blit : Turabl'dst, fabl'dst, stabl'dst, disabl'dst. bis: Stabl's, fabl's, nibbl's, gabbl's, babbl's. br : Brave, brown, break, breath, bride. dist: Add'lat, padd'Ist, sadd'lst, pedd'lst, fidd'lst. fldst: Baffl'dst, raffl'dst, shuffl'dst, muffl'dst. gdst : Beg'dst, haggl'dst, bag'dst, flog'dst. kldst: Tackl'dst, buckl'dst, truckl'dst, twinkl'dst. Idst : Ilold'st, mold'st, bold'st, gild'st. mdst : Tam'dst, trim'dst, seem'dst, dream'dst. ndlst: Hand'lst, kind'lst, fond'lst, trifl'dst. ngd : RangM, hing'd, hang'd, ringed, rjd : Mcrg'd, charg'd, cnlarg'd, forgM. ^ ridst : FnrlMst, snarl'dst, whirl'dst, hurl'dst. -4 ELOCUTION. rmdst : Arm'dst, charm'dst, form'dst, storm'dst. rndst: Tum'dst, lumMst, scom'dst, spurn'dst. rchd : ArchM, march'd, search'd, parch'd. ngst: Ilang'st, wrong'st, bring' st, wing*8t. ngth : Length, strength, ngs : Songs, wrongs. bdst : Barb^dst, prob'dst. rjd : Urg'd, scourg'd. rkdst : WorkMst, thank'dst. plst : Ripp'lst, tipplst. rnd : BumM, turn'd, spurned, warned. rvd : Curv'd, swerv'd, served, starv'd. rtst : Ilurt'st, part*8t, smartest, report'st. skst : Bask'st, mask'st, frisk*st, kick'st. sld : Nestl'd, bristl'd, wrestl'd, jostFd. Ihd : Breath'd, wreathed, sheath'd, bequeathed. Ills : Breath's, wreath's, sheath's, bcqueath's. thst : Wreath'dst, breath'dst, sheath'dst, bequeath'dst.\ tld : Nettl'd, setU'd, battlM, bottl'd. tldst Nettl'dst, settrdst, throtl'dst, bottl'dst. vdst: Liv'dst, deceiv'dst, ^rov'ldst, believ'dst. vldst : Drivcrdst, grovel'dst, shovel'dst. zld : Dazz'ld, muzz'Id, puzz'ld. zldst : Dazzl'dst, muzzl'dst, puzzl'dst. zm : Chasm, spasm, zms : Chasms, spasms. nz : Pris'n, ris'n. znd : Impris'nd, reas'nd. znz : Seas'ns, prisons, znst : Impris'nst. EXERCISE IX. IN ANALYSIS. Express with great distinctness and precision, the sounds 3(rhich compose each letter of the alphabet, giving the VOCAL CULTURE. 26 name of each sound, and the class to which it belongs: thus, B, the first sound of the letter B, is the subvocal B; the second sound of b, is the open yowel sound of E. C, the first sound of C is the aspirate S; the second sound is the open vowel sound of E. Do not go through this, or any other of the exercises, in a careless, languid manner; but with as much earnestness ab if something of great importance depended upon your doing it correctly. EXERCISE X. IN ANALYSIS, SYLLABICATION, ACCENT, AND PRONUNCIATION. Analyze the following words as in Exercise IX; then express each element singly, and with great precision ; next, designate the accented syllable, then pronounce the words with varying degrees of force, but always with a sufficient degree to mark the accent well, and to bring out clearly and distinctly every syllable and every sound. EXAMPLES. Personification, Perpendicularity, Intercommunication, Recapitulation, Irresistibility, Incontrovertibly, Etyraologically, Horizontally, Generalissimo, Valetudinarian, Interrogatively, Metaphorically, Allegorically, Discrimination, Emphatically, Congratulation, Nonconformity, Incomprehensibility. The foregoing exercises, if faithfully practiced, according to instructions, two or three times a day, will, in a few weeks, break up the worst faults in articulation, and in- crease the compass, power, and flexibility of the voice, to an extent truly astonishing. MODULATION. EXERCISE L IS THE MONOTONE MOVEMENT UPON THE OPEN VOWEL SOUNDS. Express each of the monothong vowel sounds, thus: take a fall breath and utter each of the sounds in succession, in iJt) ELOCUTION. as pure, sabdued, and yet distinct a tone as poseible; con- tinue to prolong the sound as directed, until the lungs are nearly emptied, then let it gradually die away into silence. In your first efforts in this movement, give the sounds in your natural key, or pitch of voice, when you can give them orrectly on that key; then practice upon them, sometimes in a higher, and sometimes in a lower pitch, increasing the force or loudness as much as you please, so that the tone of the voice is kept clear and resonant. Whenever, on changing the pitch or increasing the force, the voice runs into a thin, aspirated, guttural, or disagree- able tone of any kind, stop at once, and rest until you feel perfectly at ease. Then carefully begin again in your conversational pitch and tone of voice. Above every thing else be sure you keep the tone pure and resonant. The chiefs difl&culty the student will experience in this and some other of the vocal exercises, is that of keeping the throat and mouth wide enough open. Unless the pupil is very mindful of the conditions to be observed, he will gradually close the mouth, until the teeth are brought close together, before the sound is finished, the inevitable consequence of which is a smothered, imperfect, and lifeless utterance of the syllable or word. A liberal opening of the mouth is a condition absolutely indispensable in giving the voice the full effect of round, smooth, and agreeable tone. This common and very bad habit of reading, speaking, and singing with the throat and mouth almost closed, may be entirely broken up by vocalizing, for a short time every day, with a gag in the mouth, according to the following directions: Cut a piece of hard wood, the thickness of a pipe stem, and about an inch in length ; place this perpendicularly between the teeth, and proceed to vocalize, in any pitch within the compass of your voice, and with* as much force OS you can command. Let the gag remain in its place until the jaw aches considerably, before you remove it. VOCAL CULTURE. J7 Practice with a gag about an inch long, two or three limes a day, for several minutes at a time, until you can keep the mouth thus far open without any difficulty. After- ward cut another about an inch and a half in length, and practice with it between the teeth, until you can vocalize with it in the mouth for three minutes at a time, without experiencing any very disagreeable feeling. Then cut another, still longer, and practice with that in the same manner. EXERCISE II. THE SWELL OR MEDIUM STRESS. Place the breathing apparatus in a proper condition, and utter each of the open vowel sounds, thus : Commence the sound in a very subdued tone, which gradually increase or swell out, until the sound is full and deep; then let it as gradually diminish in force, until it vanishes with a sound so light and delicate that the ear can scared}' distinguish its close. The words marked in capitals, in the accompanying ex- Rmples, must be given with the prolonged swell. The pupil must exercise his own judgment as to the de- gree offeree to be employed: his aim ouglit to be to bring out the sense and sentiment of the whole passage, in an appropriate and effective manner. EXAMPLES. 1. Dut see him on the edge of life, With cares and sorrows worn, Then age and want, On! ill-matched pairl Show man was made to mourn. li. Woe unto thee, Cliorazint Wob unto thee, Bethsaidal for if ihi mighty things which were done in you, had been done in Tyre und Ridon, they would have repented long ago, in sackcloth and in ashes 8. An I then and there was hurrying to and fro, And gathering tkars, and tremblings of distrow And cheeks all pale, which, but an hour ago, Blushed at the praise of their own lovelineM. i.?5 ELOCUTION. 4. On! sacred Tiuth, thy triumphs ceased awhile, And Hope, thy sister, ceased with tlieo to smile. 6. An I why will Kings forget that they are men, And men that they are brethren I 0. Oa! that I had the wings of a dove, that [ might fly away and be at rest I 7. Oh for a iongut to curse the slave, Whose treason, like a poison blight, Comes o'er the counsels of the brave, And blasts them in their hour of might I THE WAVE. In the wave, which is a form of the swell, the v(»icc risei aud then falls, or falls and then rises, while the force is increasing or diminishing. The modifications of the swell and the wave are innumerable. EXERCISE III. IN THE EXPULSIVE RADICAL STRESS. Express in a clear, full, affirmative tone, in the order m vhieh they are arranged upon the chart, the words con- *^ining examples of the open vowel sounds, as follows : First, pronounce each word as if in answer to a question addressed to jou by a person but a short distance from you, using the words / said, in connection with the word. [ Baid me. Between the words said and wie, take a short breath, and draw the abdominal muscles well back, that you may be enabled to bring out the word me with proper force and quantity. Continue in this manner to utter the words with iu- areasing force and earnestness; but be careful to keep the voiee down, and avoid every thing like a tone of excitement. Exemplify the Expulsive Radical Stress, on the wards iLarked in the following examples. 1. Rise! fathers, Rise! — 'tis Rome demands your help. 2. Hold ! hold for your lives ! 'i. Forward, the Light Brigade! VOCAL CULTURE. 29 4. Who PARES to FLY from yonder sword — he cries, Who DARES to TREMBLK, by this weapon, dim. 6. To ABMsl to ARMS I to ARMS I thcy cry. 6. Awake! arise! or be forever fallen. 7. Roll on! thou deep and dark blue ocean, roll. Most of the preceding examples require the intensive form of the Expulsive Radical Stress, to give them with proper effect. EXERCISE IV. EXPLOSIVE RADICAL STRESS. Inflate the lungs, and, as it were, bar up the breath in the throat, keep the abdominal muscles drawn back tight, then by the sudden, vigorous action of every part, cause the sound to burst forth with the utmost abruptness and with the highest degree of energy. First, give each of the vowel sounds in this manner, then select a number of words, such as slave, wretch, coward, as in the passage, "Thou SLAVE, thou WRETCH, thou COWARD I" and prac- tice upon these words and sounds, with varying degrees of force, but always with a well marked radical stress. Give the following examples with proper spirit. Let the emphatic words be brought out with great abruptness and intense force. Take care to keep the voice within its range ; if you let it spring into a very high pitch, you will be unable to control it. EXAMPLES. 1. Thy threats, thy mercies I DEtrt And give thee, in thy tekth, the lib! 2. I LOATHE you with my bosom; I 8C0R.V you with mine eye; ril TAUNT you with my latest breath, And riQHT you till I die! S. Down soothless insultcri 80 ELOCUTION. 4. Aud if thou sayst I am not peer To any lord in Scotland here, Highland or Lowland, far or near, Lord Angus, thou hast lied I 5. Go from my sight! I bate and I despisk thee I G. RorsB, ye Romans! Rouse, ye slaves! 7 He DABBS not touch a hahi of Cataline. 8. Strike! till the last ann'd foe expires. Strike! for your altars and your fires, Strike! for the green graves of your sires, God — and your native land. EXERCISE V. EXPLOSIVE SHORT VOCALS. The mode of expressing these sounds is the same as Id the Explosive Radical Stress, with this slight difference: in the explosive short vocals the sound continues but an in- stant, while in the Explosive Radical Stress the vanishing sound is always heard, and sometimes greatly prolonged. Pronounce the words marked in the following passages with the utihost explosive force, and in a tone of passionate excitement. Practice, in this form of stress, upon the short vocals, singly, in syllables, and upon words until you can utter any of them in the middle, low, or high pitch of the voice, with that percussive force, that may be compared to the crack of a rifle. EXAMPLES. 1. Whence and what art thou? Execrable shape! 2. Back to thy punishment, false fugitive ! 3. Fret, till your proud heart breaks! 4. Hexce ! HOUE 1 ye idle creatures ! get you home. 6. You BLOCKS — ^you stones — you worse than senselMS things. 6. Up comrades, up! — in Rokeby's halls, Ne'er be it said our courage falls. 7. If it will feed nothing else, it will feed my revenge 1 VOCAL OJLTURB. 31 VANISHINQ 8TKESS. The vanishing stress begins with a light and gentle sound, which gradually increases in volume, and suddenly tcrnii- nates with a heavy and violent sound. This form of stress but seldom occurs in speech. This is one of the best exercises for strengthening the voice, but the student must have forcible examples of it from the living teacher, before he can understand it suf- ficiently well to practice upon it with any decided advan- tage. The pupil should practice regularly and frequently, upon the elementary sounds, on words, and on short passages in 2very form of stress, and in the lowest pitch of voice in which he can command a clear, full tone. EXERCISE VI. LAUGHING EXERCISE ON THE VOWEL SOUNDS. Put on a mirthful look, draw back the corners of the mouth, as in laughter, and laugh out successively each of the short vocal sounds. Let the tone of voice be subdued, and the movement slow, at first, but rapidly increase, then diminish the degree of force and rapidity with which the sounds are uttered. Occasionally intersperse the exercises with one of the open vowel sounds, expressed with long quantity. In this manner you will relieve yourself, and be enabled to utter the sounds more like those which are heard on the spon- taneous breaking forth of real laughter. This is one of the most valuable of the vocal exeroisos, whether considered with reference to the deepening and mellowing of the voice, which results from it, or frum the itrengthening and invigorating effect it has upon the throat and lungs. It is highly promotive alike of health of body and cheerfulness of mind. It should, however, be conducted with great moderation at first. As soon as the pupil begins to feel somewhat exhausted by his efforts, he should rest awhile. 82 ELOCUTION EXERCISE VIL IN Tin !\il IIIIUUATIVE AND AFFIKMATIVE TONES, Take t: sounds in the order in which they occui ujx'ii ill. .('ginning with E, and ask tlie (iiu,'sti:.ri Did l/uii i ,, J.. Ill your natural t(uie, and iiiaruicr ol" ask- ing a question; then answer tin 4iusiion affirmatively, thus: Fe«, 1 said E. In the qiipsii..ii K t the voice glide into a higher pitch on t: lit, or syllable which is the subject of experi- inrni. in iiie affirmation let the voice fall into a lower pitch, and take a deeper, fuller tone. Use the words, Did you say? and l^es, 1 s jii> Miitji-ri uiiiii lie tnorougjiiy uiiderstawds it, and then practice upon it until he can express it lo his own satisfaction. A careful observance of the following simple directions, will soon enable the student to read in a pleasing and im- pressive manner. F1R.ST: — Pause long enough to take a short breath, just before giving an emphatic word. Second: — Pause for a moment immediately after giving an emphatic word, letting the voice fall in pitch, and take a more subdued tone on the words iinuKdiatcly following. Third : — When emphasis is given by simply increasing the loudness, or duration of the accented syllable, let the voice out freely, and do no* rlie sound before it is fully ' ' rd. Fo; After expressing a word or syllable with great force, as in the intensive forms of the Expulsive or Explo- sive Radical Stress, do — * '-^^p the muscles of the neck, throat, and tlit>t in i rigid condition they are in at the moment of giving the emphatic word; but, instantly, let them relax mjkI fnll into a natural and easy position. Let me her. the student who intends to pursue this sul'joet. not to pass lightly over the first exercises be- cause they are simple and unattractive. Success in giving the most difiicult passages, will chiefly depend upon a prac- tical knowledge of the principles involved in the correct nunciation of short and simple sentences. As in Articu .ation and 3Iodulation, the student should begin with the first example under the first rule, and thoroughly master fhaf^ before he takes up the next. VOCAL CULTURE. 37 CADENCE. Cadence signifies that easy, natural dropping of the voice at the end of a sentence or passage, which denotes com- f»lcteness of sense, or that the speaker has finished what he had to say upon that point. No specific rules can be given by which to regulate the tone and movement of the voice in making the cadence; the pupil must rely, mainly, upon his own taste and dis- LTimination, After a few days' careful practice of the fol- lowing exercises, his ear will detect the slightest variation from the true sound of the cadence. EXERCISE I. The simplest form of the cadence can be best illustrated by the enumeration of a series of particulars. By counting one, two, three, four, five, in a deliberate manner, and paying particular attention to the tone of the voice on four and jive^ it will be discovered that on jive^ the voice falls a little, takes a fuller tone, and has that pecu- liar intonation which denotes that the enumeration is complete. EXAMPLES. 1 1,2,3^ 1,2,3,4^ 1,2,3,4,5,6^ 1,2,3,4,5,6,7^ 4. 6. 7. 8. Give the open vowel sounds in a clear, full tone, in the •>auie manner as in the first example, thus: Aw 0, E, I, Oi I, 01, E, A, Aw 0. Ow. U. Give a number of names in succession as in calling the oil, thus: 3. Smith, Chambers, Buttorfield, Edmunds, Morgan, Wilson, Page, Jones. ^ Connect the last two names or particulars by the con- jviurtion and^ letting tho i liitK on the last pax 88 ELOCUTION. ticular but one, and fall, aa in the previous examples on the last one, thus: .»•■ 4. Cincinnati, St Louis, Boston, Louisyille, Philadelphia, v hot the cadence in the following passages be formed in the same manner as in example 4. 6. He sinlcs into thy depths with bubbliug groan. Without a grave, unknelUd^ uncoJjivLd^ and unhiou 6. Whatever obscurities may involve religious tenet nee \ 'i 3 of true piety consists in humility ^ love, and devotion. 7. Be armed with courage against thyself, against thy pcusioru, and against flatterers. 8. In the least insect there are muxelei. nerves, ioinLy vnnx. artfrieg, 6 and blood. When the concluding series consists of more than three members or particulars, the preceding members or partic- ulars should receive the modulation which tasts and the general sense of the passage suggest. EXERCISE II. THE COMMENCINO SERIES. In the commencing series the last particular or member, should take the rising modulation, and the las* but one, a slight falling modulation. EXAMPLES. 1. The knowledge, power, wisdom, holiness, and goodnes% of the Deity re all unbounded. 2. Gold, silver, copper, iron, and lead are abundant in various parts of the Western Continent. 3. Proofs of the immortality of the soul, may justly be drawn from the nature of the Supreme Being, whose justice, wisdom, and veracity, are all concerned in this great point. Immediately after expressing the last particular, pause VOCAL CULTURE. 39 for a moment and let the voice drop into its ordinary pitch and tone, upon the words that follow. EXERCISE III. The student should practice upon each of the following xamples until Ije can exemplify the rule involved, and bring out the sense in the fullest, most pleasing, and most impressive manner. EXAMPLES. 1. Diligence, industry, and proper improvement of their time, are material duties of the young. 2. He is generous, just, charitable, and humane. 3. In meat and drink observe the rules of Christian temperance and sobriety. 4. If you would be revenged on your enemies, let your life be blameless. 5. Ingratitude is a crime so shameful, that the man was never yet found who would acknowledge himself guilty of it, 6. As you value the approbation of heaven or the esteem of the world, cultivate the love of virtue. 7. The earth is adorned witJi a beautiful variety of mountains, hills, valleys, plains, seas, lakes, rivers, trees, flowers, plants, and animals. 8. Luxury, vanity, and pride, have much influence in corrupting the opinions of the multitude. 9. Make a proper use of your time, for the loss of it can never be retrieved. 10. Envy not the appearance of happiness in any man; for you know not his secret griefs. 11. The shadow of knowledge passeth over the mind of man as a dream; he seeth as in the dark; he reasoncth and is deceived. 12. Do not insult a poor man; his misery entitles him to pity. 18. A tear is sometimes the indication of a noble mind: Jesus wept 14. Every thing grows old; every thing passes away; >rrery thing disappears. 15. A talkative man i« a nuisance to society; the ev \m tiok «f bis babbling. 40 ELOCUTION. 16. Fear God: He is thy Creator and Uiy Preserrer. 17. When the battle was ended, the stranger disappeared, and no person knew whence he had come, or whither he had gone. 18. It is not the use of the innocent amusements of life which is dangerous, but the abuse of them; it is not when they arc occa- sionallj, but when thejr are constantlj pursued, tliat tluy bcccm# an evil. 19. Some men are intent upon gathering riches; others enrlcavor Ui acquire reputation and honor; a third sort are deroted pleasures; while but few are engaged in the nobler pursuits < ing and wibdom. 20. Truth is the basis of erery virtue; it is the voice of reason; let its precepts be religiously obeyed; never transgress its limits. Every deviation from truth is criminal. Abhor a falsehood. Let your words be ingenuous. 21. Sincerity possesses the most powerful charm. It acquires the veneration of mankind; its path is security and peace. EXERCISE IV. PARENTHESIS. In the following examples, read the first part of eacn sentcmc in a manner suited to the nature of the subject, and make a short pause just before the parenthesis, which read more rapidly, and in a more subdued tone. When the parenthesis is concluded, resume your former pitch and tone of voice. EXAMPLES. 1. Know then this truth, (enough for man to know,) Virtue alone is happiness below. 2. I have seen charity (if charity it may be called) insult with as air of pity. 3. I am happy, said he (expressing himself with the wannest emotion), infinitely happy, in seeing you return. 4. Surely in this age of invention, something may be struck out to obviate the necessity (if such necessity exist) of so tasking the human intellect. 5. Know ye not, brethren (for I speak to them that know the law), that the law hath dominion over a man as long as he liveth? VOCAL CULTURE. 41 C. It is Uiia sense which furnishes the imagination with idco^i BO that by the pleasures of the imagination or fancy (terms which 1 shall use promiscuously), I here mean such as arise from yisibU objects. EXERCISE V. THE RHETORICAL PAUSE. The Rhetorical Pause consists in suspending the voice e«ther directly before or after the utterance of an important thought. The pause before the principal word awakens curiosity and excites expectation ; after, it carries the mind back to what has already been said. Pauses occur as often where points are not found as where they are. Sense and sentiment are the best guides in the use of the pause. The student must remember that every important modulation, in order to preserve its due force and distinctness, requires to be followed by a consid- erable pause. A pause of greater or less duration is always required wherever an interruption occurs in the progress of thought, or the uniform construction of the sentence, as in the case of the dash, the exclamation, the parenthesis, &c. In these instances the mind is supposed to be arrested by the sudden change of sentiment or passion. EXAMPLES. 1. But this very day, An honest man, my neighbor — there he stands — Was struck — struck like a dog — ^by one who wore The badge of Ursini. % Here will I hold. If there's a power above as, (And that tlicre is, all nature cries aloud Through all her works,) he must delight in virtue: And that wliich ho delights in must be happy. But when? or where? — This world was made for Cssear I'm weary of conjectures — this must end them. 3. Slaves to a horde Of petty tyrants, feudal despotet lords, Rich in some dosen paltry villages-^ Kinn I 42 Strong in some buudrcd spearmcD— only great In thai strange spell — a name. 4. Thej fought like brave men — long and well; They piled the ground with Moslem slain; They conquered — but Botzaris fell, Bleeding at every vein. 6. THOU Eternal One! whose pre8euce bright All space doth occupy, all motion guide. Unchanged through time's all-devastating flight; Thou only God! There is no God beside I Being above all beings! Mighty one! Whom none can comprehend, and none explore: Who fiU'st existence with thyself a\one] Embracing all — supporting — ruling o'er — Being whom we call God! — and know no more 6. Some— -plaee the bliss in action, some — in ease; Those call it pleasure, and— contentment, these. 7. Stand up — erect! Thou hast the form And likeness of thy God! — Who more? A soul as dauntless 'mid the storm Of daily life, a heart a*s warm And pure as breast e'er wore. 8. Hush! — Hark I — a deep sound strikes like a rising knell. 9. We are some of us very fond of knowledge, and apt to value oui-selvcs upon any proficiency in the sciences. One science there is. worth more than all the rest, and that is — tk^ science of living toell. 10. Heaven and earth will witness, If — Rome must fall — ^that we are innocent 11. He woke — to die mid flame and smoke, And shout, and groan, and sabre stroke. 12. Thou art thyself thine enemy: The great! — what better they than thou? As theirs is not thy will as free? Has God with equal favors thee Neglected to endow? True, wealth thou hast not — ^"tis but dust: Nor place — ancertain as the wind; VOCAL OULTURB. 48 But that thou hast, which with thy crust And water may despise the lust Of both — a noble mind. EXERCISE VI. ON SHORT QUESTIONS. ^/"press the following examples with the same earnest- n»«s of tone, and directness of manner, which you would use if the questions were your own, and you felt deeply interested in the answer you might receive. (s Johii &t home? Are you still living with your father? Do you think he is honest? Are the people willing? Whither are you going? How many books have you bought? Why did you not go m Boston? When shall I see you again? Who told you that I was sick? Whose dog is that? What excuse have you for coming so late this morning? Did he say that he would do it? How many bushels have you? Who can view such misery without pity? Have you seen Joseph yet? EXERCISE VII. ON VARIOUS FORMS OP INTERROQATION AND AFFIRMATfON Was his progress quick or slow? It was slow, very slow. Did he pitch his voice high or low? He pitched it high, never higher. Do you read Greek or Latin? I have long read Latin, never Greek. Did they confess or deny? They confessed and were merely rebuked. How does your friend look? well or ill? Well; he never looked better. How did he move? graoeftilly? Graceftillyl Yes — m he always do««. 44 1. i,uL I TION. Was the priie merited or not? It was — at least all tliought so. Who delirered the message? he or his brother? He; his brother is from home. Is the stream wide or narrow? Very narrow— especially near its source. Straight or circuitous? Partly straight and partly circuitous. And its banks — rugged? Ves; but quite accessible, and highly picturesque. His speech was not read — it was delirered? It was well delivered. And well received? With enthusiasm — if the applause it obtained is the teti The subject was interesting? Yes, and is rather popular at present Did he speak long? An hour perhaps? Longer — two hours — three hours. And was well received, you say? Enthusiastically — applauded throughout. He made an impression then? I should think so — at least upon some. Then he is likely to succeed? Succeed 1 Yes — if he chooses to exert himself. The Past— where is it? It has fled. The Future? It may never come. Our friends departed? With the dead. Ourselves? Fast hastening to the tomb. What are earth's joys? The dews of morn. Its honors? Ocean's wreathing foam. Where's peace? In trials meekly borne. And joy? In Heaven — the Christian's home. EXERCISE VIII. N CHANGING THE SENSE BY VARYING THE MODULATIOB AND BY CHANGING THE SEAT OF EMPHASIS. Ue attended Divine service regularly. Read the above passage so as to place the emphasis firsi exclusively upon regularly; then upon Divine service; then upon attended; and last upon He. The words immediately preceding or following the emphatic word, must be givoo VOCAL CULTURE. 46 10 the usual conversational pitch and tone. Make a ma^-ked pause directly after uttering the word which receives ♦lie emphasis. Give the tone of the direct question upon the last word of the same passage, so that it will convey the same mean- ing that would be conveyed if the question were asked thus: Di'J jou say tlmt he attended divine service r^ularlyl Then change the seat of emphasis as in the preceding exercise. Next express it in a tone of surprise. Give the same sentence as a question in a whispered tone; then express it as if in answer to the question, in the same tone: thus, He attended Divine service regularly? Ans. He attended Divine service regularly. Next, express it both interrogatively and affirmatively, in the tone of unimpassioned conversation ; then as if carrying on a conversation with a person on the opposite side of the street; then as if conversing with a person still farther away from you ; and so on, to the utmost extent of your vocal capability. Express it also both interrogatively and affirmatively in a very pleasant tone and manner; in a sullen, surly man- ner; in a careless, indiflferent, sleepy tone and manner; in a very irritable or excited tone and manner; in a scornful or ironical tone ; in a respectful, deferential tone ; in a very serious tone, and in a merry, laughing tone. Such exercises, carefully pracujed, will, more than any other, facilitate the progress of the student, in obtaining a command of the tones, looks, and action by which the ▼arious emotions and passions of the soul are expressed. EXERCISE IX. ANTITHESIS. Antithesis is tbundcd upon contrast, cxpro^sed or iii- plied. It occurs in a sentence in which two or more words are opposed to each other in meaning. Words, tlubl 46 ELOCUTION. express opposite ideas, must be marked by different modu- lations, and expressed with greater emphasis, than the words that immediately precede, or those which follow them. In nearly all cases there should be a marked pause directly after the antithetic words, and on the remaining words in the passage the voice should take its ordinary, nnimpassioned tone. EXAMPLES. 1. I come to 6ifry-— Onsar, not to praiu him. 2. The evU that men do, Vires after them; The ffood — is ofl interred with their bones. 8. It is sown in weakne4$; it is raised in power. It is sown a natural body; it is raised a spiritual body. 4. If ye are beatU^ then stand here like fat oxen, waiting for the butcher's knife! If ye are men, — follow me I 6. Comrades 1 Warriors! Thracians 1— if we must fight, let us fight for