,a ,,companion ,,to ,,baker',s ,,reading ,,club4 ,,elocution ,,simplified2 ,,with ,,an ,,appendix ,,on ,,lisping1 ,,stammering1 ,,stuttering1 ,,and ,,other ,,defects ,,of ,,speech4 ,,by ,,walter ,k4 ,,fobes1 ,,graduate ,,of ,,boston ,,university ,,school ,,of ,,oratory4 ,,with ,,an ,,introduction ,,by ,,george ,m4 ,,baker1 ,,author ,,of ,,the ,,reading-,,club ,,series1 ,,etc4 ,,boston3 ,,lee ,,and ,,shepard1 ,,publishers4 ,,new ,,york3 ,,charles ,t4 ,,dillingham4 #ahgg4 ,,copyright4 #ahgg1 ,,by ,,walter ,k4 ,,fobes4 ,,this ,,little ,,book ,,is ,,dedicated ,,to ,,prof4 ,,lewis ,b4 ,,monroe1 ,,in ,,testimony ,,of ,,appreciation ,,of ,,his ,,many ,,qualifications ,,as ,a ,,teacher ,,of ,,this ,,art1 ,,and ,,of ,,the ,,respect ,,and ,,affection ,,with ,,which ,,he ,,will ,,ever ,,be ,,regarded ,,by ,,his ,,friend ,,and ,,pupil1 ,,the ,,author4 ,,preface4 ,why write this book8 say you4 ,because it is needed1 say ,i4 ,there is no digest of elocution that is both methodical and practical1 and that is low in price1 now in the market4 ,this book is an epitome of the science of elocution1 containing nothing that is not necessary for you to know1 if you wish to make yourself a good reader or speaker4 ,you who will thoroughly study and digest this book1 and then put in practice what you here have learned1 will have started on the road1 the goal of which is ,oratory4 ,,contents4 ,,page ,,preface #e ,,introduction #aa ,,acknowledgment #ae ,,method ,,of ,,study ,,of ,,elocution #ae ,,part ,i4 ,,physical ,,gymnastics #ag ,,attitude #ag ,standing ,position #ag ,speaker's ,position #ah ,sitting ,position #ah ,changing ,position #ah ,poise of ,body #ah ,rising on ,toes #ai ,holding the ,book #ai ,note on ,attitude #ai ,,chest ,,expansion #ai ,active and ,passive ,chest #ai ,arms at ,side #ai ,fore-arm ,vertical #bj ,full-arm ,percussion #bj ,hand ,percussion #bj ,,body ,,movements #ba ,bend ,forward and ,back #ba ,bend ,right and ,left #ba ,turn ,right and ,left #ba ,,neck ,,movements #ba ,bend ,forward and ,back #ba ,bend ,right and ,left #ba ,turn ,right and ,left #ba ,note on ,physical ,gymnastics #ba ,,part ,,ii4 ,,vocal ,,gymnastics #bb ,,breathing #bb ,abdominal #bb ,costal #bc ,dorsal #bc ,puffing ,breath #bc ,puffing ,breath1 with pause #bc ,puffing ,breath1 breathe between #bc ,holding the ,breath #bd ,,tone #bd ,glottis ,stroke #bd ,soft ,tones #be ,swelling ,tones #be ,,pitch #be ,learn ,scale #bf ,chant ,sentences #bf ,read ,sentences #bf ,,inflection #bf ,major ,falling #bf ,major ,rising #bg ,major ,rising and ,falling #bg ,minor ,rising and ,falling #bg ,circumflex #bg ,monotone #bg ,,quality #bh ,whisper #bh ,aspirated #bh ,pure #bh ,orotund #bh ,,force #bi ,gentle #bi ,moderate #bi ,loud #bi ,,stress #bi ,radical #bi ,median #bi ,terminal #cj ,thorough #cj ,compound #cj ,tremolo #cj ,,movement #cj ,quick #cj ,moderate #cj ,slow #ca ,,articulation #ca ,,elementary ,,sounds #ca ,vowels #ca ,consonants #cb ,,summary ,,of ,,physical ,,and ,,vocal ,,gymnastics #cc ,,part ,,iii4 ,,elocution #cf ,,pleasant ,,quality #cf ,,articulation #ch ,syllables #ch ,words #ch ,accent #ch ,phrases #ci ,emphasis #ci ,sentences #ci ,,fulness ,,and ,,power #db ,,inflection #dd ,major ,rising #de ,major ,falling #de ,minor ,rising #df ,minor ,falling #dg ,circumflex #dg ,monotone #dh ,,pitch #di ,high #di ,middle #ej ,low #ea ,very ,low #eb ,,quality #eb ,whisper #ec ,aspirate #ec ,pure ,tone #ed ,orotund #ee ,,movement #ef ,quick #ef ,moderate #eg ,slow #eh ,very ,slow #eh ,,force #ei ,gentle #ei ,moderate #fj ,loud #fa ,very ,loud #fa ,,stress #fb ,radical #fc ,median #fc ,terminal #fd ,thorough #fe ,compound #fe ,tremolo #ff ,,transition #ff ,,modulation #gj ,,style #gg ,conversational #gh ,narrative #gi ,descriptive #gi ,didactic #hj ,public ,address #ha ,declamatory #hb ,dramatic #hc ,,part ,,iv4 ,,hints ,,on ,,elocution #he ,,defects ,,of ,,speech #ic ,,introduction4 ,rev4 ,dr4 ,hall of ,new ,york says1 ,there is one accomplishment in particular which ,i would earnestly recommend to you3 cultivate assiduously the ability to read well4 ,i stop to particularize this1 because it is a thing so very much neglected1 and because it is such an elegant and charming accomplishment4 ,where one person is really interested by music1 twenty are pleased by good reading4 ,where one person is capable of becoming a skilful musician1 twenty may become good readers4 ,where there is one occasion suitable for the exercise of musical talent1 there are twenty for that of good reading4 ,what a fascination there is in really good reading6 ,what a power it gives one6 ,in the hospital1 in the chamber of the invalid1 in the nursery1 in the domestic and in the social circle1 among chosen friends and companions1 how it enables you to minister to the amusement1 the comfort1 the pleasure1 of dear ones1 as no other accomplishment can6 ,no instrument of man's devising can reach the heart as does that most wonderful instrument1 the human voice4 ,it is ,god's special gift to his chosen creatures4 ,fold it not away in a napkin4 ,did you ever notice what life and power the ,holy ,scriptures have when well read8 ,have you ever heard of the wonderful effects produced by ,elizabeth ,fry on the criminals of ,newgate by simply reading to them the parable of the ,prodigal ,son8 ,princes and peers of the realm1 it is said1 counted it a privilege to stand in the dismal corridors1 among felons and murderers1 merely to share with them the privilege of witnessing the marvellous pathos which genius1 taste1 and culture could infuse into that simple story4 ,elocution trains the voice to obey the mind1 and to rightly express thought and feeling4 ,it is necessary to those who read or speak in public2 to persons with defective speech2 to those with nasal1 shrill1 throaty1 or husky voices2 to persons with diseased throat1 or liability to it1 arising from wrong use of voice4 ,the practice of the art of elocution is as necessary to the reader or speaker as practice of the art of singing is to one who intends to become a public singer4 ,any one attempting to sing for the public without previous practice would be justly hissed from the stage3 and a like fate overtakes most speakers1 who1 without previous study of elocution1 attempt to speak in public2 that is1 very few go to hear them4 ,,clergymen should learn to read impressively the ,bible1 ,litany1 hymns1 and sermons3 for as ,dr4 ,holland says1 ,when a minister goes before an audience1 it is reasonable to ask and expect that he shall be accomplished in the arts of expression2 that he shall be a good writer and speaker4 ,it makes little difference that he knows more than his audience1 is better than his audience1 has the true matter in him1 if the art by which he conveys his thought is shabby4 ,it ought not to be shabby1 because it is not necessary that it should be4 ,there are plenty of men who can develop the voice1 and so instruct in the arts of oratory that no man need go into the pulpit unaccompanied by the power to impress upon the people all of wisdom that he carries4 ,the same writer says of ,,students4 ,multitudes of young men are poured out upon the country1 year after year1 to get their living by public speech1 who cannot even read well4 ,the art of public speech has been shamefully neglected in all our higher training-schools4 ,it has been held subordinate to every thing else1 when it is of prime importance4 ,i believe more attention is now paid to the matter than formerly4 ,the colleges are training their students better1 and there is no danger that too much attention will be devoted to it4 ,the only danger is1 that the great majority will learn too late that the art of oratory demands as much study as any other of the higher arts2 and that1 without it1 they must flounder along through life practically shorn of half the power that is in them1 and shut out from a large success4 ,,teachers should learn elocution so as to teach in a pleasing1 effective manner2 and also to teach reading in schools1 so that children may learn to read in an easy1 agreeable way1 and give thought to what they read2 thus leading a child in all studies to get ideas from books1 and not merely words without meaning4 ,,public ,,speakers should1 by study of elocution1 learn the best manner of moving1 persuading1 and instructing their audiences2 thus adding to their own popularity1 and consequently widening their influence4 ,,lawyers1 by practice of elocution1 will find greater ease in speaking to witness or jury1 and thus be greatly aided in their work4 ,,actors ,,and ,,public ,,readers lose both time and money by a neglect of elocution1 the practice of which is essential to success in their vocation4 ,,singers1 by study of elocution1 can best obtain that perfect articulation and elegant expression so necessary to the successful singer4 ,,all ,,persons who have a taste for reading should study elocution1 as reading aloud in the social or home circle is one of the most instructive1 pleasing1 and healthful pastimes in which we can indulge4 ,,defective ,,speech1 as lisping1 stammering1 stuttering1 c41 can be entirely cured by a study and diligent practice of elocution4 ,,unpleasant ,,voices1 either shrill1 nasal1 throaty1 husky1 or with any other disagreeable quality1 can be made agreeable by practice of elocution4 ,to meet all these wants1 this treatise has been prepared4 ,embracing as it does a thorough exposition of the principles of elocution in an eminently practical form1 adapted to the requirements of the student1 the professional man1 and the amateur1 by a graduate of the ,boston ,school of ,oratory 7acknowledged to be the best ,institute of ,elocution ,america has produced71 himself a successful teacher and reader1 it seems to present the whole science in a nutshell1 so that he who runs may read in reality1 if he but follow the instructions of this ,manual4 ,here elocution is not only simplified1 but1 in this neat and cheap form1 placed within the reach of all4 ,,george ,m4 ,,baker4 ,,acknowledgment4 ,i would here acknowledge my indebtedness to ,prof4 ,lewis ,b4 ,monroe1 ,dean of ,boston ,university ,school of ,oratory1 for what ,i have learned of expression in elocution2 to ,prof4 ,a4 ,graham ,bell of ,boston for valuable instruction in articulation and inflection2 to ,prof4 ,edward ,b4 ,oliver of ,mendelssohn ,musical ,institute of ,boston for his most excellent instruction in tone4 ,the method of study of this book is the result of the knowledge gained from these three superior instructors4 ,the plan of ,part ,three will be found to be that of ,monroe's ,sixth ,reader4 ,,method ,,of ,,study ,,of ,,elocution4 ,part ,first1 a series of gymnastics to give strength and elasticity to the muscles used in speaking1 to expand the chest1 and to get a correct position of body1 so that speaking may be without effort1 and yet powerful4 ,part ,second1 a system of vocal exercises for daily practice1 to train the voice1 and get command of tone1 quality1 pitch1 inflection1 force1 stress1 articulation1 and right manner of breathing4 ,part ,third1 the application of the vocal exercises to the reading of short extracts1 showing the effect when thus applied1 and showing the difference between the seven styles1--conversational1 narrative1 descriptive1 didactic1 public address1 declamatory1 and emotional or dramatic4 ,there will be found references to select pieces in ,baker's ,reading ,club and ,handy ,speaker1 for practice in the different styles of reading4 ,hoping this little book may be of benefit to many1 it is sent forth to help those who love the art1 but with no thought of recommending this book for self-instruction1 and substituting it for the instruction to be gained from a good teacher of the art4 ,if a good teacher is not to be had1 use this book4 ,,walter ,k4 ,,fobes4 ,,cambridge1 ,,mass41 ,october1 #ahgg4 ,,elocution ,,simplified4 ,,part ,,one4 ,,physical ,,gymnastics4 ,goethe says1 ,all art must be preceded by a certain mechanical expertness4 ,you find it so in the art of playing the piano3 the fingers must be made nimble1 and the wrists elastic1 before any thing else can be well done4 ,in the art of singing you have to exercise the voice in many ways to get command of it4 ,so1 in the art of elocution1 it is necessary to practise the mechanics of physical and vocal culture1 that you may be prepared to express properly your thought and feeling4 ,you need first a healthy body1 elastic and strong in muscles1 and especially in those muscles used in the production of voice4 ,for this latter purpose ,i will describe as clearly as ,i can ,monroe's system of gymnastics1 and for the former recommend any other gymnastics that will give health1 strength1 and especially elasticity4 ,,attitude4 #a4 ,,standing ,,position4--,hamlet1 so ,shakespeare tells us1 ends a letter to ,ophelia thus3-- ,whilst this machine is to him1 ,hamlet4 ,your body is the machine by means of whose working you express your mind and feelings4 ,if you were to run a steam-engine1 you would be very careful to place the machine in such a position1 that it would do the most work with the least wear and tear4 ,you must do the same with this machine1 your body4 ,to get a correct standing position1 place yourself with back against a smooth wall in the room1 with shoulders flat1 your back as nearly straight as you can make it1 and every part1 from head to heel1 touching the wall4 ,this gives you an upright position1 but feels uncomfortable1 because the weight is too much on the heels4 ,sway the whole body in its upright position forward1 so that the weight will come mostly on the balls of the feet2 and1 in doing so1 do not bend any part except at the ankles4 ,you are now in a proper position for speaking4 ,the head is erect1 shoulders thrown back1 chest expanded1 back nearly straight1 the weight of the body is about equal on ball and heel of the feet1 and your poise of body as it would be naturally in the act of taking a step forward4 ,this puts every part of your body in the best condition for easy speaking4 #b4 ,,speaker',s ,,position4--,this position should be assumed before an audience when some other position is not required for dramatic expression4 ,it is the standing position1 with the weight upon one foot1 and the other advanced4 ,let the advance foot be about a heel's distance from the middle of the foot behind1 and form a right angle with it4 #c4 ,,sitting ,,position4--,when you read in a sitting position1 the body should be as in speaker's position1 and feet also1 the poise of body being forward4 #d4 ,,change ,,of ,,position4--,you sometimes wish to turn to address your audience at one side4 ,to change gracefully from the speaker's position1 turn the foot in advance on the ball1 outward1 until it becomes parallel with the foot behind2 then take the weight on it1 and turn the other foot till you have correct speaker's position4 ,if1 as you stood at first1 facing the audience1 your weight was on the right foot1 you will find yourself facing to the right2 if the weight was on left1 you will face left4 ,when facing the audience1 to change the weight from one foot to the other1 take one short step either forward or back4 #e4 ,,poise ,,of ,,body4--,to get steadiness of body1 to keep a correct poise1 and to prevent all unseemly swaying1 when standing to read or speak1 assume standing position1 and1 keeping feet flat on the floor1 sway forward until the weight comes entirely on the ball of the feet4 ,don't bend the body4 ,then sway back to standing position4 ,then sway backward1 keeping feet flat on the floor and the body straight1 until the weight is entirely on the heels2 from that sway forward to position4 #f4 ,,rise ,,upon ,,the ,,toes4--,for the same purpose as the above4 ,assume standing position1 and rise as high as possible on the toes very slowly2 then sink slowly so as to come back to standing position4 ,be very careful not to sway backward in coming down1 and you will find yourself in the exact poise of standing position4 ,also do the same from speaker's position1 rising on one foot4 #g4 ,,holding ,,the ,,book4--,hold your book in the left hand1 on one side of the body1 so that your face will not be hid from the audience4 ,the top of the book should be about even with the shoulder4 ,many1 in reading1 hold the book in front of them2 but that is not so pleasant to an audience1 and leads to a stooping position1 a contracted chest1 and ill health4 ,,note4--,all the foregoing exercises relate to position of body necessary for the most powerful1 and at the same time the easiest1 action of the vocal organs2 also to the attitudes most pleasing to an audience when they look upon a reader or speaker4 ,practise them until they become habits1 and so unconsciously you will assume correct position when you stand4 ,,chest ,,expansion4 ,for purposes of speech1 you need to use more breath than for ordinary breathing or conversation4 ,you therefore need to make as much room as possible for good fresh air by exercise to expand the chest4 ,elocution is beneficial to health for this reason4 #a4 ,,active ,,and ,,passive ,,chest4--,your chest in its ordinary position is what1 in elocution1 is called passive chest4 ,the active chest is that assumed in the standing position1 where the chest is raised up slightly and expanded1 with the shoulders drawn back4 ,practise as an exercise the active and passive chest1 alternating from one to the other without breathing1 or moving the shoulders4 ,the active chest must be kept in all the physical and vocal gymnastics1 and at all time during speech4 ,with practice it will soon become established as a habit2 and your every-day attitude will be more erect as a consequence4 #b4 ,,arms ,,at ,,side4--,place your arms at the side1 with elbows bent1 so that from elbow to hand the arms are horizontal1 and parallel with each other4 ,draw the elbows back1 clinch the fist with palms up1 and make chest active1 keeping the back straight4 ,take a full breath1 and hold it 7see ,breathing72 then carry the arms at full length in front of you1 your hands open and as high up as the shoulders2 then bring them back to the position you started from1 with hands clinched1 palms up1 and pull back with all your strength1 raising the chest slightly more2 then give out the breath4 ,after some practice you may do it twice upon one breath1 being sure to keep the arms as close to the body as you can2 for1 if you spread your arms1 you will strain the muscles4 #c4 ,,fore-,,arm ,,vertical4--,assume standing position1 and bend the arms1 placing them vertically1 and parallel with each other1 at the side1 with clinched hands as high as the shoulder2 turn the fist out from the shoulder1 raise the chest as much as you can1 and1 taking a full breath1 hold it2 bring the arms forward so as to touch the elbows together1 if you can2 then draw them back to first position1 and pull downward and backward as hard as you can2 then give out the breath4 ,after some practice1 do this twice on one breath1 being sure to keep the arms and hands close to the body4 #d4 ,,full-,,arm ,,percussion4--,in ordinary breathing1 it is seldom you fill your lungs to their fullest capacity2 and some of the air-cells are not filled1 especially those at the extreme edges of the lungs4 ,this and the following exercise are for the purpose of sending air into those portions of the lungs not ordinarily filled4 ,assume standing position2 take a full breath1 and hold it2 then strike with the right hand upon the top of the left chest a very quick and very elastic blow1 striking with fingers1 and swinging the arm freely from its position at the side2 then strike with left hand on right chest in same manner2 repeat with each hand1 and then give out the breath4 ,never strike with the flat palm or clinched fist1 as that is very injurious and unhealthy4 #e4 ,,hand ,,percussion4--,assume standing position1 and place your hands on your chest1 with elbows as high as the shoulders2 make chest active2 take a full breath1 and retain it while you strike alternately eight light elastic blows with each hand2 then give out the breath4 ,,body ,,movements4 ,the muscles of the waist are the front or abdominal1 the side or costal1 the back or dorsal muscles4 ,these muscles are very important in speech2 and upon the strength and elasticity of these1 and the inner muscles acting in connection with them1 depend the force and strength of your voice4 ,three very simple movements are here given1 which will give some measure of strength and elasticity to these muscles4 #a4 ,,body ,,bend ,,forward ,,and ,,back4--,from standing position bend forward1 keeping the back straight1 and bending only at the hip-joints2 touch the floor with your hands1 if you can2 then assume upright position1 and bend back as far as you can4 #b4 ,,bend ,,right ,,and ,,left4--,from standing position1 bend to right side as far as possible1 bending only at the waist1 and stretching the costal muscles2 then assume upright position1 and bend to left in same manner4 #c4 ,,turn ,,right ,,and ,,left4--,from standing position turn the body on the waist1 keeping the hips still1 and twisting the waist-muscles1 first to the right1 then to the left4 ,,neck ,,movements4 ,the neck movements are necessary1 because many of the disagreeable qualities of the voice are due to inelasticity of the muscles of the neck4 ,the movements are in the same directions as for the body4 #a4 ,,bend ,,forward ,,and ,,back4 #b4 ,,bend ,,right ,,and ,,left4 #c4 ,,turn ,,right ,,and ,,left4 ,it is not necessary to describe them at length3 but1 in bending right and left1 be careful to keep the head from bending slightly backward or forward at the same time2 and1 in the turning of head1 keep it erect4 ,,note4--,this completes the physical gymnastics4 ,practise them until the purpose for which they are intended has been accomplished1 and afterwards occasionally1 to keep what you have gained4 ,take each exercise two or three times in succession4 ,when thoroughly learned1 this will not take more than five minutes4 ,practise them five minutes at morning and night4 ,,part ,,two4 ,,vocal ,,gymnastics4 ,you have no need to take any special exercise in walking for the ordinary purposes of life2 but1 if you wished to be a walkist1 you would need special practice to train and develop the muscles for that purpose4 ,you may be a good singer1 able to sing for your own amusement or that of your friends1 without specially training the singing-voice2 but1 if you wished to sing in public1 you would1 if you were wise1 train your singing-voice very carefully4 ,as in these cases1 so with the voice in speaking4 ,for all ordinary purposes of speech1 you need no special training of the speaking-voice2 but when1 as teacher1 clergyman1 lawyer1 lecturer1 actor1 public reader1 or in any other capacity1 you are called upon to do more with the voice than others1 you ought to train and develop your vocal powers4 ,for this purpose1 the following series of exercises are given for practice4 ,,breathing4 ,as it is necessary that you should take in and give out more breath in speaking than at other times1 you ought to be able to do this in a natural manner4 ,if you will practise these breathing-exercises until they are easy for you1 the breath in your reading or speaking will take care of itself4 ,practise breathing in the open air1 and take in and give out the breath through the nose without making the slightest sound in so doing4 #a4 ,,abdominal ,,breathing4--,take standing position and active chest2 place the fingers on the abdominal muscles1 and the thumbs on the costal muscles2 take a full breath1 making the abdominal muscles start first1 and move outward2 then let the muscles sink in as the breath comes out4 ,make as much movement of these muscles as you can1 both in and out2 and be sure you keep the shoulders from moving4 ,pay particular attention to the movement of the abdominal muscles1 letting all the rest 7except the shoulders7 move as may be easy to you4 ,practise this way of breathing until you can do it easily2 and1 if it makes you dizzy1 do not be alarmed1 but wait till the dizziness is entirely gone before you try again4 #b4 ,,costal ,,breathing4--,assume standing position with active chest2 place the fingers on the costal muscles1 and thumbs at the back2 inhale a full breath1 expanding as much as possible the costal muscles and ribs4 ,in giving out the breath1 make them sink in as much as possible4 ,keep shoulders still in breathing in and out1 and let all other muscles be free to move as they may4 #c4 ,,dorsal ,,breathing4--,assume standing position with active chest2 place the fingers at the back on dorsal muscles1 and thumbs on the side2 take a full breath1 trying to expand the muscles under your fingers as much as you can4 ,rightly done1 the abdominal and costal muscles1 and the ribs1 will also expand2 the chest1 if not already active1 will rise2 the shoulders will remain quiet4 ,in giving out the breath1 let the chest be the last to sink4 ,this is the way of breathing in every healthy man1 woman1 and child4 ,any manner of dressing the body that hinders free and easy action of the abdominal1 costal1 and dorsal muscles1 and the ribs1 leads to ill health1 because it interferes with the vital process of breathing2 and ill health is fatal to success in any art4 #d4 ,,puffing ,,the ,,breath4--,assume standing position1 with active chest2 take a full breath1 and1 rounding the lips as if you were about to say the word who1 blow the breath out as you would in blowing out a light2 inhale again1 and repeat the puffing4 #e4 ,,puff ,,and ,,pause4--,puff the breath as before1 three times1 pausing about five or more seconds1 holding the breath between the puffs4 ,in holding the breath1 let there be no pressure upon the lungs or throat1 but control it by keeping the waist-muscles still4 7,see ,holding ,breath47 #f4 ,,puff ,,and ,,breathe4--,puff three times in the same way as before1 breathing between the puffs1 thus3 place the fingers of one hand on the upper part of the chest1 the fingers of the other hand on the abdominal muscles2 keep the chest still1 and make the abdominal muscles sink every time you puff out the breath1 and expand1 every time you take in breath1 between the puffs4 ,in this exercise breathe through both nose and mouth4 ,by practice of these three ways of expelling breath you get command of it4 #g4 ,,holding ,,the ,,breath4--,when you hold your breath for a longer or shorter time1 or try to control it for any purpose of speech1 you should do so by means of the muscles spoken of in ,dorsal ,breathing1 as being the ones used in right manner of breathing4 ,you must try to control the breath by keeping the waist-muscles still2 and there should be no feeling of pressure or uneasiness on the lungs1 or in the throat or mouth4 ,if at first you don't succeed1 try1 try again3 time will bring you your reward3 try1 try again4 ,get control of the waist-muscles so as to keep them still2 and1 while you hold them still1 there is no possibility of the breath getting out4 ,,tone4 ,a good tone in speech is as much to be desired as it is in song4 ,some have it as a gift of nature2 and all can acquire it1 in a degree1 by judicious practice4 ,if you have an excellent voice1 you can make it still more excellent by practice2 and1 if you have a poor voice1 you can1 by practice1 make it full1 pleasant1 and effective1 and excel that one who has a good voice1 but makes no effort to improve it4 ,the tone-exercises here given are designed to give command of tone1 and develop purity and power4 ,they should be practised five minutes at a time1 at four different times of the day1 and double that time if possible1 in order to get the greatest amount of good from them4 ,use any tones of your voice1 high or low1 without being at all particular about an exact musical pitch2 though1 if you can practise with an organ or piano1 you will find it much more beneficial4 #a4 ,,glottis ,,stroke4--,assume standing position with active chest2 take full breath1 and whisper forcibly the word who three times4 ,repeat the same4 ,now whisper who twice1 and speak it aloud the third time2 then whisper who once1 and speak it aloud the second and third time2 then speak who aloud three times4 ,now speak who twice1 and the third time say oo as those letters sound in the word woo2 then say who once1 and oo the second and third time2 then oo three times4 ,you should make both the whisper and vocal sound very short and sudden1 without any feeling of contraction or effort in the throat or mouth4 ,it should seem to you as if the sound came from the lips2 and1 while you are energetic in the exercise1 it must be done with perfect ease4 ,you have thus proceeded1 from an easy1 forcible whisper1 to an easy1 forcible sound1 and have thus obtained what is called the ,glottis ,stroke4 ,after diligent practice on the above exercise1 use any of the short vowels 7see ,articulation72 speaking each vowel three times very shortly1 as you did the vowel-sound oo4 #b4 ,,soft ,,tones4--,assume standing position with active chest1 and take breath2 prolong very softly oo as long as your breath will let you1 being careful not to force the sound to continue after you feel the slightest need of breath1 and also not to change the position of the mouth from beginning to end of the sound4 ,repeat three times4 ,in this exercise you will probably hear the voice waver1 and find it difficult to keep it very soft1 and yet distinct4 ,practice will overcome this1 and the exercise will be found very beneficial4 ,the ability to do it shows cultivation of voice4 ,after some time1 use also the long vowels4 7,see ,articulation47 #c4 ,,swelling ,,tones4--,assume standing position with active chest1 and take full breath2 then begin the vowel oo very softly1 and gradually swell it to a full tone1 and then as gradually diminish it to the gentlest sound4 ,be careful1 as in soft tone1 as to breath1 and position of mouth4 ,after some practice1 you should be able to continue on one breath1 either the soft tone or swelling tone1 twenty seconds2 which is long enough for practical purposes4 ,use same vowels as in soft tone4 ,,pitch4 ,it is necessary to all expressive reading that there should be as much variation in pitch of voice--that is1 as to high and low tones--as possible1 and not overdo4 ,the pleasantest quality of voice1 without variation in pitch1 is tiresome to the listener4 ,to get command of pitch1 you must practise till the high and low tones are as easy to make as the common conversational tones4 ,if you can sing the musical scale of one octave in key of ,c1 or ,b flat1 you will find these exercises more beneficial than if you cannot sing4 ,if you cannot sing1 take a relatively high or low pitch1 as your ear may guide you1 and practise the chanting and reading of sentences as well as you can4 #a4 ,,learn ,,the ,,musical ,,scale4--,sing the scale in music1 using first the glottis stroke2 that is1 speak each very short as you go up and down the scale4 ,then practise soft tone and swelling tone on each tone within compass of your voice4 #b4 ,,chant ,,sentences4--,use one tone of voice1 and take any sentence1 prolonging the words without reference to the sense1 without change of tone from beginning to end4 ,when you use a high tone1 make it light and clear2 when you use a low tone1 make it full1 free1 and forcible4 ,chant on each tone separately within the compass of the voice4 #c4 ,,read ,,sentences4--,use the same sentences as for chanting1 and1 beginning on each tone of the voice1 speak it as you would in earnest conversation1 in a way to give the meaning of it4 ,you will see that if you begin with high pitch1 although your voice varies in speaking1 it will be a relatively high pitch through the whole sentence2 and1 if you begin low1 it will be relatively low4 ,with high pitch1 make your voice light and clear2 and with low pitch1 full1 free1 and forcible4 ,,inflection4 ,in inflection the voice slides up or down in pitch on a word1 and by so doing impresses your meaning on the listener4 ,inflections are infinite in number2 but a few of them practised will be of benefit in getting command over them4 ,when the voice slides up1 it is called rising inflection2 if down1 a falling4 ,if it slides both ways on the same word1 it is called circumflex2 and if it varies but little1 and is very like a chant in song1 it is called monotone4 ,a major inflection gives an effect of strength2 a minor1 of feebleness4 #a4 ,,major ,,falling ,,inflection4--,a falling inflection is indicated by 77 over the accented syllable of an emphatic word4 ,if you do not already know the difference between a rising and falling inflection1 suppose ,i say to you1 ,the book is on the table1 and you1 not understanding what place ,i said1 should ask1 ,where8 and ,i answer1 ,on the table4 ,your question would be made with rising1 and my answer with falling inflection4 ,use any vowel-sounds1 and practise the falling inflection as you would hear it on the word table1 avoiding all motion of head1 arms1 or body1 and making it with much energy of voice1 as if expressing strong determination4 #b4 ,,major ,,rising ,,inflection4--,this is indicated by a 77 over the emphatic word4 ,practise with any vowel-sounds the inflection as you would hear it on where1 as above1 observing same directions as in major falling inflections4 #c4 ,,major ,,rising ,,and ,,falling ,,inflections4--,practise rising followed by falling1 as h1 h1 h1 h1 a'we1 awe1 c41 using long and short vowels4 ,then falling followed by rising1 as h1 h1 h1 h1 a'we1 awe1 c41 using long and short vowels4 ,use these as if asking a simple unimportant question1 and giving a like answer2 then a question and answer of earnestness2 then of surprise2 then of great astonishment4 ,in so doing1 your voice will range higher and lower in inflection than you otherwise would make it4 ,do not let any of the inflections sound plaintive or feeble1 but make them strong and decisive4 #d4 ,,minor ,,rising ,,and ,,falling ,,inflections4--,use the same exercises as under major rising and falling1 just mentioned2 with this difference1 that you make them so as to sound week1 feeble1 plaintive1 or sad4 ,they should be practised that you may become familiar with their sound1 and have them at command1 so as to use them when needed for expression1 and avoid them when not4 #e4 ,,circumflex ,,inflection4--,this inflection is indicated by a mark 79999symbol like letter ,v9999symbol like letter ,v upside down7 or 79999symbol like the bottom half of a circle9999symbol like the top half of a circle7 because it is a combination of rising and falling inflection4 ,the first is rising circumflex1 because it ends with the rising2 the second is falling circumflex1 because it ends with falling inflection4 ,it is used in expression of doubt1 irony1 sarcasm2 as in ,the ,merchant of ,venice1 act #a1 scene #c1 ,shylock says to ,antonio1 ,hath a dvog mvoney8 ,is it possible a cur can lend three thousand dvucats8 ,you will see1 if read to express ,shylock's irony and sarcasm1 that the words would be inflected1 as marked1 with rising circumflex4 ,practise these circumflex inflections with vowels as directed under major rising and falling inflections4 ,the falling circumflex being the reverse of the rising1 when once you are familiar with the rising1 can be easily made4 #f4 ,,monotone4--,this comes as near to being one tone of voice as it can be1 and at the same time keep its expressiveness as reading4 ,it is not really1 as its name might indicate1 one tone1 as that would be like chanting in singing2 but it is variation of inflection within very small limit of range in pitch4 ,it is best practised as song1 however4 ,prolong1 on a low pitch1 any of the long vowels1 about five seconds4 ,the mark for monotone is 7-7 placed over a word4 ,,quality4 ,the quality of the voice is that which affects us agreeably or disagreeably2 and we say it is gruff1 or husky1 or harsh1 or pleasant1 c4 ,four general and distinct qualities need to be practised until they are at command of the mind4 #a4 ,,whisper4--,whisper the long and short vowels very easily and quietly at first1 without the slightest feeling of effort in throat or mouth1 and perfectly free from hoarseness or murmuring4 ,as soon as you can make a clear whisper heard across the room1 whisper so as to be heard farther off1 and so proceed gradually1 day by day1 until you can whisper1 clearly and without effort1 loud enough to be heard in a large hall4 ,do not practise whispering more than three minutes at a time4 #b4 ,,aspirate ,,quality4--,this is what1 in general1 is called undertone4 ,it is a mixture of whisper and voice1 and is what you would be likely to use when in company you speak to any one with a desire not to be overheard by others4 ,practise with vowels as in whisper4 #c4 ,,pure ,,quality4--,speak the long vowels in your conversational tone as pleasantly as you can1 tossing the tone lightly1 as if speaking to some one across a large hall4 ,speak each vowel three times on one breath4 ,practise them first speaking shortly1 then with prolonging of each tone not over five seconds4 #d4 ,,orotund ,,quality4--,this quality is seldom to be heard in uncultivated voices1 but is much to be desired in a speaker4 ,it can only be acquired slowly and with much practice4 ,it will be easily recognized when heard1 as it possesses a fulness and richness of tone very pleasing4 ,it is not high1 but seems low in pitch2 and1 although it does not sound loud1 it seems to be effective1 and reach a long distance4 ,to acquire it1 practise1 as recommended in ,pitch1 the chanting and reading of sentences on the conversational and lower tones of the voice2 also swelling tone under ,tone1 on low pitch1 using long vowels1 especially oo1 oh1 awe1 ah4 ,,force4 ,force is the degree of loudness or softness we may give to the voice4 ,you should be able to speak gently without feebleness or weakness of voice1 and so as to be distinctly heard in a large hall1 and also to make the fullest and loudest voice without showing any effort to do so4 #a4 ,,gentle ,,force4--,chant and read sentences1 as under ,pitch1 with the gentlest force you can1 and yet make it so as to seem to be clear and distinct4 ,do this on every pitch you can1 high or low4 #b4 ,,moderate ,,force4--,read and chant as above on the middle and higher tones1 with about the force of earnest conversation4 #c4 ,,loud ,,force4--,read and chant as above1 using only the middle and lower tones of the voice1 making the loudest tones you can1 without straining the throat4 ,force of voice depends on the management of the muscles below the lungs2 and you should have perfect freedom from all effort on the part of lungs1 throat1 or mouth1 on any pitch1 high1 middle1 or low4 ,if any effort is perceptible to you1 it will be a feeling of strength and power at the waist2 and experience and practice must teach you how much or how little effort to make at that point4 ,the loudest force1 and at the same time the purest quality1 is secured when it seems to make itself without the slightest feeling of effort on your part4 ,,stress4 ,stress is the manner of applying force to a word or accented syllable4 ,prof4 ,l4 ,b4 ,monroe1 in his book on vocal culture1 enumerates six kinds4 ,the marks he uses to represent them exhibit clearly to the eye what the voice is required to do4 ,with radical1 terminal1 and compound stress1 after facility is gained by use of stroke from the shoulder1 omit it1 and do them forcibly without movement of any part of the body4 #a4 ,,radical ,,stress4--,so called1 because the stress is on the beginning of the word1 and marked thus 774 ,assume standing position with active chest1 and take breath2 touch the fingers to the shoulder1 and strike forward and downward1 stopping the hands half way1 and clinching the fist very tightly2 at the moment of stopping1 speak the vowel ah very shortly4 ,you will notice that the voice issues full1 and seems to suddenly vanish in a manner well indicated by the mark above4 ,use any vowels1 long or short1 with middle pitch of voice4 ,practise afterward without any movement of the arms4 #b4 ,,median ,,stress4--,so called1 because the force is on the middle of the word1 marked thus 774 ,it is the same as swelling tone1 but is much shorter4 ,practise with long vowels on middle tones of voice1 making three short swells on the same vowel in one breath4 #c4 ,,terminal ,,stress4--,so called1 because the force is on the end of the word1 and marked thus 774 ,use the same movement as in radical stress2 begin the sound softly when the hand leaves the shoulder1 stopping it suddenly as the hands clinch4 ,the voice seems to be jerked out4 ,practise also without arm-movements1 using the same vowels as in radical stress4 #d4 ,,thorough ,,stress4--,so called1 because the force is loud from beginning to end1 and marked thus 774 ,prolong about ten seconds long vowels1 with a loud full voice on middle pitch4 #e4 ,,compound ,,stress4--,so called1 because it is a union of radical and terminal stress1 and marked 774 ,the force is on both beginning and end of the word1 and may be made by striking twice in succession1 continuing the voice from radical to terminal without pause of voice between the strokes4 #f4 ,,tremolo ,,stress4--,this is a trembling of voice1 and marked thus 79999symbol like a rippled line74 ,prolong long vowels1 making the voice tremble while you do so4 ,,movement4 ,movement is the degree of rapidity or slowness with which you speak the articulate sounds4 ,the danger in fast movement is1 that you will not articulate plainly2 and in slow1 that you will drawl4 #a4 ,,quick ,,movement4--,use exercise of chanting and reading sentences1 as under ,pitch1 using the middle tones of voice2 and repeat the words with the utmost possible rapidity1 with perfect articulation4 ,in chanting1 do not mind the sense2 but1 in reading1 be particular to give the meaning of the sentence4 #b4 ,,moderate ,,movement4--,use exercise as above about as fast as ordinary talking4 #c4 ,,slow ,,movement4--,use exercise as above1 with very slow movement of voice4 ,in chanting1 prolong each word about alike2 in reading1 give good expression1 and you will see that the more important words usually take the longest time4 ,,articulation4 ,articulation is the utterance of the elementary sounds1 which1 when combined1 make language4 ,you have been using the sounds that make up speech1 in combination1 every day2 but it is a good practice to make each element separately4 ,after you are able to make each sound distinctly1 you will find you can make yourself understood in a large hall without using a loud voice4 ,your jaw1 lips1 and tongue should move actively and easily4 ,for this purpose use long vowels1--,no4 #a1 ,no4 #h1 ,no4 #ad1--speaking them in quick succession1 one after the other1 making them distinct1 and making the jaw and lips move as much as you can with ease4 ,continue to the extent of your breath4 ,then use the same with p1 b1 or m before them2 then with t1 d1 or n2 then k1 g1 or y4 ,continue this practice about five minutes at a time1 until the jaw1 lips1 and tongue will move with perfect ease4 ,,elementary ,,sounds4 ,in the exercises here given1 use the sound1 not the name of the letters which represents the sound1 and practise separately the sounds represented by the ,italic letters below4 ,the only correct way to learn them is from the lips of a competent teacher2 but you will do well1 and improve1 if you try the best you can in your way4 ,,vowels4 ,long4 ,short4 ,diphthongs4 #a4 e as in meet4 #b4 i as in it4 #ha4 i as in pie4 #ca4 a may4 #d4 e met4 #aaa4 oi oil4 #e4 ai air4 #e4 a at4 #had4ou out4 #f4 e her4 #g4 a ,cuba4#aad4 u you4 #h4 a ah4 #i4 u up4 #aj4 a awe4 #aa4 o on4 #abad4o oh4 #ac4oo foot4 #ab4 o ore4 #ad4 oo woo4 ,,glides4--#a-ad of the vowels1 and r when it follows a vowel1 are by ,prof4 ,bell called ,glides4 ,,consonants ,,or ,,articulations4 ,breath4 ,voice4 ,nasal4 ,place in ,mouth4 p as in pay4 b as in bay4 m as in may4 ,lips4 wh why4 w way4 f fie4 v vie4 ,lips and teeth4 th thin4th then4 ,tongue t tie4 d die4 n nigh4 ,tip of tongue4 ch chew4j jew4 l lay4 r ray4 s see4 z zeal4 sh shoe4zh azure4 y ye4 ,whole tongue4 k key4 g go4 ng sing4 ,back of h he1 hay1 ha1 ho1 is a whispered vowel1 taking the position of the vowel following it4 ,of the vowels1 the numbers indicate positions of mouth2 and1 where numbers are alike1 the positions are alike4 ,each vowel-sound is made by unobstructed sounds issuing through a certain position of mouth4 ,the position is unchanged with single vowels1 and those have but one number4 ,the position changes in double vowels and diphthongs2 and those have two numbers1--one large1 one small4 ,as each number represents a position of mouth1 you can easily see by comparing what sounds are made from combining others4 ,the number in the largest size type of the two represents the position that is kept when the sound is prolonged3 as in #ha prolong the #h or ah1 and make #a or ee very short2 and in #aad make #a very short1 and prolong #ad4 ,the positions represented by the small figures are called ,glides1 because the position is hardly assumed before the sound is finished4 ,diphthongs are sounds made by combining vowel-sounds1 as #ha ah-ee4 ,of the consonants1 or1 as well named by ,prof4 ,bell1 articulations1--because two parts of the mouth have to come together and separate in order to finish the element1 thus obstructing the breath or voice1--those in line across the page with each other are alike in position of mouth2 those in first column are made with breath only1 passing out through the mouth2 those in second column1 with sound passing out through the mouth2 those in third column are sound passing out through the nose4 ,for instance1 p1 b1 m1 are in line with each other2 and1 if you will make the three sounds represented by those letters1 you will see that the same position of mouth is assumed for each1 and that p is breath forced out of mouth1 b is sound out of mouth1 m is sound passing out of nose4 ,practise these sounds of vowels and articulations until you can make them forcibly and easily1 with elastic movement of jaw1 tongue1 and lips2 and remember that force depends on the strength and good control of muscles below the lungs4 ,then unite them by placing articulations before vowels1 giving most force to the vowel1 but make both clear and distinct4 ,then use articulations both before and after the vowel1 still giving the vowel the most force1 but making the articulation that begins and ends equally distinct and clear4 ,to arrange these for your practice in this small book would take too much space4 ,you have above each element of the ,english language clearly shown1 and can easily combine them as directed4 ,,summary ,,of ,,physical ,,and ,,vocal ,,gymnastics4 ,,physical ,,gymnastics4 ,,attitude4 #a4 ,standing ,position4 #b4 ,speaker's #c4 ,sitting ,position4 #d4 ,change #e4 ,poise4 #f4 ,rise on ,toes4 #g4 ,holding ,book4 ,,chest ,,expansion4 #a4 ,active and ,passive ,chest4 #b4 ,arms at ,side4 #c4 ,fore-arm ,vertical4 #d4 ,percussion4 ,full ,arm4 #e4 ,hands on ,chest4 ,,body ,,and ,,neck ,,movements4 #a4 ,body bend forward and back4 #b4 right and left4 #c4 turn #d4 ,neck bend forward and back4 #e4 right and left4 #f4 turn ,,vocal ,,gymnastics4 ,,note4--,be sure and keep ,,active ,,chest in all vocal exercises4 ,,breathing4 #a4 ,abdominal4 #b4 ,costal4 #c4 ,dorsal4 #d4 ,puff4 #e4 ,puff--,pause between4 #f4 ,breathe #g4 ,holding ,breath4 ,,tone4 ,,note4--,in following exercises use first long1 then short vowels4 #a4 ,glottis stroke4 ,who1 whispered1 followed by short vowels quickly spoken4 #b4 ,soft ,tones4 ,use oo-oh-awe-ah first1 then any other vowels4 #c4 ,swell ,tones4 ,use vowels as in ,soft ,tones4 ,,pitch4 #a4 ,learn ,musical ,scale4 ,practise ,tone ,exercise on each tone within compass of voice4 #b4 ,chant sentences on each tone4 #c4 ,read sentences1 beginning on each tone4 ,,inflection4 #a4 ,major1 fall from different pitches4 #b4 rise #c4 and fall from different pitches4 #d4 ,minor rise and fall4 #e4 ,circumflex1 rise and fall4 #f4 ,monotone1 different pitches4 ,,quality4 #a4 ,whisper4 #b4 ,aspirate4 #c4 ,pure4 #d4 ,orotund4 ,,force4 ,,note4--,use exercises under ,pitch1 ,nos4 #b and #c1 with different degrees of force4 #a4 ,gentle4 #b4 ,moderate4 #c4 ,loud4 ,,stress4 #a4 ,radical4 #b4 ,median4 #c4 ,terminal4 #d4 ,thorough4 #e4 ,compound4 #f4 ,tremolo4 ,,movement4 ,,note4--,use exercises under ,pitch1 ,nos4 #b and #c1 with different rates of movement4 #a4 ,quick4 #b4 ,moderate4 #c4 ,slow4 ,,articulation4 ,,note4--,use only sounds represented by ,italicized letters in the words and letters below4 #a4 ,elementary ,sounds4 #b4 ,syllables4 #c4 ,words4 #d4 ,phrases4 #e4 ,sentences4 ,long ,vowels4 #a4 meet4 #ca4 may4 #e4 air4 #f4 her4 #h4 ah4 #aj4 awe4 #abad4 oh4 #ab4 ore4 #ad4 woo4 ,short ,vowels4 #b4 it4 #d4 met4 #e4 at4 #g4 ,cuba4 #i4 up4 #aa4 on4 #ac4 foot4 ,diphthongs4 #ha4 pie4 #aaa4 oil4 #had4 out4 y#ad4 you4 ,glides4 #a4--ad4-r4 ,articulations4 ,lips--p1 b1 m-wh1 w4 ,lips and ,teeth--f1 v4 ,teeth and ,tongue--th 7thin71 th 7then74 ,tip of ,tongue--t1 d1 n-l-r-ch1 j-s1 z-sh1 zh4 ,tongue--y4 ,back of ,tongue--k1 g1 ng4 ,whispered ,vowel--h4 ,,part ,,three4 ,,elocution4 ,if you have faithfully practised ,parts ,one and ,two1 you have gained some control of voice1 and can now begin elocution1 or expression of thought and feeling4 ,in each of the short extracts you will find some thought and feeling to express2 and if you will take pains to understand thoroughly what you have to speak1 and then speak earnestly as the thought and feeling prompts you1 you will certainly improve4 ,speak to some person2 and1 if no one is present1 imagine that there is1 and talk to them3 for you need never speak aloud1 unless it is for some one besides yourself to hear4 ,your first endeavor as a speaker should be to make a pleasant quality of voice1 so that you may make good listeners of your audience4 ,the following exercises suggest pleasure1 and let your voice suggest the sentiment4 ,,pleasant ,,quality4 #a4 ,a merrier man1 ,within the limit of becoming mirth1 ,i never spent an hour's talk withal3 ,his eye begets occasion for his wit2 ,for every object that the one doth catch1 ,the other turns to a mirth-moving jest1 ,which his fair tongue 7conceit's expositor7 ,delivers in such apt and gracious words1 ,that aged ears play truant at his tales1 ,and younger hearings are quite ravished1 ,so sweet and voluble is his discourse4 #b4 ,there's something in a noble boy1 ,a brave1 free-hearted1 careless one1 ,with his unchecked1 unbidden joy1 ,his dread of books1 and love of fun1-- ,and in his clear and ready smile1 ,unshaded by a thought of guile1 ,and unrepressed by sadness1-- ,which brings me to my childhood back1 ,as if ,i trod its very track1 ,and felt its very gladness4 #c4 ,the scene had also its minstrels3 the birds1 those ministers and worshippers of ,nature1 were on the wing1 filling the air with melody2 while1 like diligent little housewives1 they ransacked the forest and field for materials for their housekeeping4 #d4 ,let me play the fool3 ,with mirth and laughter let old wrinkles come2 ,and let my liver rather heat with wine ,than my heart cool with mortifying groans4 ,why should a man whose blood is warm within ,sit like his grandsire1 cut in alabaster8 ,sleep when he wakes8 and creep into the jaundice ,by being peevish8 #e4 ,across in my neighbor's window1 with its drapings of satin and lace1 ,i see1 'neath its flowing ringlets1 a baby's innocent face4 ,his feet1 in crimson slippers1 are tapping the polished glass2 ,and the crowd in the street look upward1 and nod and smile as they pass4 #f4 ,how sweet the moonlight sleeps upon this bank6 ,here will we sit1 and let the sounds of music ,creep in our ears3 soft stillness and the night ,become the touches of sweet harmony4 ,look how the floor of heaven ,is thick inlaid with patens of bright gold6 ,there's not the smallest orb which thou behold'st1 ,but in his motion like an angel sings1 ,still quiring to the young-eyed cherubim3 ,such harmony is in immortal souls2 ,but1 whilst this muddy vesture of decay ,doth grossly close it in1 we cannot hear it4 #g4 ,a cheerful man is pre-eminently a useful man4 ,he knows that there is much misery1 but that misery is not the rule of life4 ,he sees that in every state people may be cheerful2 the lambs skip1 birds sing and fly joyously1 puppies play1 kittens are full of joyance1 the whole air is full of careering and rejoicing insects2 that everywhere the good outbalances the bad1 and that every evil that there is has its compensating balm4 ,for other selections1 see ,baker's ,reading ,club4 ,no4 ,page4 ,verse4 #a #ab #a #a #hb all #b #ae #f #b #fb #a #b #gb #a #b #gh all #c #aa all #c #ce all #c #di all #d #bf #f #d #cf all #d #ib #a ,,articulation4 ,with pleasant quality you will make listeners2 but you will soon weary them1 unless you make them understand by clear articulation4 ,you have made the organs of articulation elastic by practice of elementary sounds separately and in combination4 ,in combinations you have made syllables1 and these syllables make words1 words make phrases1 phrases make sentences1 sentences make up a discourse1 address1 oration1 c4 ,,syllables4--,every syllable contains a vowel1 or its equivalent2 as in the following word1 which is separated by hyphens into syllables1--in-com-pre-hen-si-ble3 you will hear a vowel-sound in each1 the last syllable having the sound of l as an equivalent4 ,,words4--,a word may have one or more syllables2 and1 when it has two or more1 one of them will receive slightly more force than the others1 as in the word common4 ,pronounce it1 and you will give more force to com than mon4 ,this force applied is called accent4 ,,accent4--,in pronouncing words1 you will notice that in the longest words1 even while you make each syllable distinct1 there is no perceptible pause until the word is finished4 ,in words of two or three syllables you will find accent as above2 but words of four or more syllables have one accented1 and perhaps two syllables besides1 that receive less force than the accented1 but more than the others4 ,pronounce incomprehensibility4 ,properly done1 you will hear that you give bil the strongest accent1 and com and hen slight accent1 but more than the remaining syllables1 in1 pre1 si1 i1 ty4 ,the accent on bil is primary accent2 and on the com and hen secondary accent4 ,,phrases4--,two or more words make a phrase2 and a phrase gives you an idea1 perhaps1 needing a number of phrases to make complete sense4 ,you should speak phrases just as you would a long word1 without perceptible pause1 and with more force on prominent words than others4 ,here is a sentence composed of two phrases3 ,fear the ,lord1 and depart from evil4 ,a poor reading of this would be1 ,fear 7pause7 the ,lord1 7pause7 and depart 7pause7 from evil4 ,a good reading would be1 ,fear the ,lord1 7pause7 and depart from evil4 ,,emphasis4--,as in words you have primary and secondary accent1 so in phrases you have what is known as emphasis4 ,in the sentence just given1 the words that had most force were ,lord and evil2 and less force1 fear and depart2 and little or no force1 the1 and1 and from4 ,you may call this primary and secondary emphasis1 the primary having1 as in accent1 most force4 ,,sentences4--,these phrases1 or groups of words somewhat connected in idea1 make sentences2 and a sentence gives complete sense4 ,as syllables make words1 and in words you have an accented syllable2 as words make phrases1 and in phrases you have an emphatic word3 so1 in sentences composed of phrases1 you have an important phrase2 and this important phrase must be impressed upon the mind of the listener more strongly than any other4 ,this is done by slightly added force and a trifle higher pitch2 and1 as you will readily see1 the emphatic word of the important phrase is the emphatic word of the whole sentence4 ,thus you have the structure of sentences2 and1 if you proportion your force well1 you will not fail to give the meaning correctly4 ,in the following sentence1 the phrases are separated by commas2 the emphatic words are in ,,small ,,capitals2 the secondarily emphatic words are in ,italics4 ,first understand what the sentence means1 then speak it as you would in earnest conversation1 and you will be likely to give it correctly4 ,we ,,all of us1 in a great measure1 create our own ,,happiness1 which is not half so much dependent upon ,,scenes and ,,circumstances as most people are apt to ,,imagine4 ,in this sentence the important phrase is1 create our own happiness2 and the other phrases must be and are1 by a good reader1 subordinated to this one4 ,this subordination of phrases to the principal one is made by lowering the pitch slightly1 and lessening the force slightly on the subordinate phrases4 ,it is naturally done if you'll talk the sentence understandingly4 ,in the following sentences1-- #ast1 ,sound each element of a word separately4 #b;d1 ,pronounce each word separately1 with proper accent1 being careful to give each element correctly4 #c;d1 ,read in phrases1 remembering that each phrase should be pronounced as a long word1 without pause1 and with emphasis4 #dth1 ,read in sentences1 subordinating all other phrases to the principal phrase4 #a4 ,when sorrows come1 they come not single spies1 ,but in battalions4 #b4 ,there's such divinity doth hedge a king1 ,that treason can but keep to what it would1 ,act little of his will4 #c4 ,grandfather is old4 ,his back1 also1 is bent4 ,in the street he sees crowds of men looking dreadfully young1 and walking dreadfully swift4 ,he wonders where all the old folks are4 ,once1 when a boy1 he could not find people young enough for him1 and sidled up to any young stranger he met on ,sundays1 wondering why ,god made the world so old4 ,now he goes to ,commencement to see his grandsons take their degree1 and is astonished at the youth of the audience4 ,this is new1 he says3 it did not use to be so fifty years before4 #d4 ,press on6 surmount the rocky steeps2 ,climb boldly o'er the torrent's arch3 ,he fails alone who feebly creeps2 ,he wins who dares the hero's march4 #e4 ,where ,i have come1 great clerks have purposed ,to greet me with premeditated welcomes2 ,where ,i have seen them shiver and look pale1 ,make periods in the midst of sentences1 ,throttle their practised accent in their fears1 ,and1 in conclusion1 dumbly have broke off1 ,not paying me a welcome1 trust me1 sweet1 ,out of this silence yet ,i picked a welcome2 ,and in the modesty of fearful duty ,i read as much as from the rattling tongue ,of saucy and audacious eloquence4 #f4 ,be not lulled1 my countrymen1 with vain imaginations or idle fancies4 ,to hope for the protection of ,heaven1 without doing our duty1 and exerting ourselves as becomes men1 is to mock the ,deity4 ,wherefore had man his reason1 if it were not to direct him8 wherefore his strength1 if it be not his protection8 ,to banish folly and luxury1 correct vice and immorality1 and stand immovable in the freedom in which we are free indeed1 is eminently the duty of each individual at this day4 ,when this is done1 we may rationally hope for an answer to our prayers--for the whole counsel of ,god1 and the invincible armor of the ,almighty4 #g4 ,the quality of mercy is not strained3 ,it droppeth as the gentle rain from heaven ,upon the place beneath4 ,it is twice blessed1-- ,it blesseth him that gives1 and him that takes4 ',tis mightiest in the mightiest3 it becomes ,the throned monarch better than his crown3 ,his sceptre shows the force of temporal power1 ,the attribute to awe and majesty1 ,wherein doth sit the dread and fear of kings4 ,but mercy is above this sceptred sway3 ,it is enthroned in the hearts of kings2 ,it is an attribute to ,god himself2 ,and earthly power doth then show likest ,god's ,when mercy seasons justice4 ,,fulness ,,and ,,power4 ,fulness of voice is necessary1 that1 when you are speaking in a large hall1 your voice may be powerful4 ,most persons could make themselves heard1 and1 with good articulation1 understood2 but yet they would lack power1 because the voice wants fulness4 ,the extracts given below will suggest to you the necessity of a full voice to express them well4 ,observe these directions in trying to get a full1 energetic tone3-- #ast1 ,correct speaker's position1 take active chest1 and keep it4 #b;d1 ,take full breath1 breathe often1 and control it4 7,see ,holding ,breath47 #c;d1 ,articulate perfectly4 #dth1 ,use conversational and lower tones of the voice4 #eth1 ,fix the mind on some distant spot1 and speak as if you wished to make some one hear at that point4 #fth1 ,remember to be very energetic1 and yet have it seem to a looker-on or listener to be done without the slightest effort4 #a4 ,o',brien's voice is hoarse with joy1 as1 halting1 he commands1 ,fix bay'nets--charge6 ,like mountain-storm rush on these fiery bands4 ,on ,fontenoy1 on ,fontenoy6 hark to that fierce huzza6 ,revenge6 remember ,limerick6 dash down the ,sassenagh6 ,like lions leaping at a fold when mad with hunger's pang1 ,right up against the ,english line the ,irish exiles sprang4 ,the ,english strove with desperate strength1 paused1 rallied1 staggered1 fled3 ,the green hill-side is matted close with dying and with dead4 ,on ,fontenoy1 on ,fontenoy1 like eagles in the sun1 ,with bloody plumes the ,irish stand3 the field is fought and won4 #b4 ,thou too sail on1 ,o ,ship of ,state6 ,sail on1 ,o ,union strong and great6 ,humanity1 with all its fears1 ,with all its hopes of future years1 ,is hanging breathless on thy fate4 ,we know what master laid thy keel1 ,what workmen wrought thy ribs of steel1 ,who made each mast and sail and rope1 ,what anvils rang1 what hammers beat1 ,in what a forge and what a heat ,were shaped the anchors of thy hope4 #c4 ,oh6 young ,lochinvar is come out of the west3 ,through all the wide border his steed was the best2 ,and1 save his good broad-sword1 he weapon had none2 ,he rode all unarmed1 and he rode all alone4 ,so faithful in love1 and so dauntless in war1 ,there never was knight like the young ,lochinvar4 #d4 ,one song employs all nations2 and all cry1 ,worthy the ,lamb1 for he was slain for us6 ,the dwellers in the vales and on the rocks ,shout to each other2 and the mountain-tops ,from distant mountains catch the flying joy2 ,till1 nation after nation taught the strain1 ,earth rolls the rapturous hosanna round4 #e4 ,but ,i defy him6--let him come6 ,down rang the massy cup1 ,while from its sheath the ready blade ,came flashing half way up2 ,and1 with the black and heavy plumes ,scarce trembling on his head1 ,there1 in his dark1 carved1 oaken chair1 ,old ,rudiger sat--dead6 #f4 ,all hail to our glorious ensign6 ,courage to the heart1 and strength to the hand1 to which in all time it shall be intrusted6 ,may it ever wave in honor1 in unsullied glory1 and patriotic hope1 on the dome of the capitol1 on the country's stronghold1 on the entented plain1 on the wave-rocked topmast6 #g4 ,rejoice1 you men of ,angiers6 ring your bells6 ,king ,john1 your king and ,england's1 doth approach1 ,commander of this hot malicious day6 ,their armors that marched hence so silver bright ,hither return all gilt with ,frenchmen's blood2 ,there stuck no plume in any ,english crest ,that is removed by a staff of ,france2 ,our colors do return in those same hands ,that did display them when we first marched forth2 ,and1 like a jolly troop of huntsmen1 come ,our lusty ,english1 all with purpled hands ,dyed in the dying slaughter of their foes4 ,,inflection4 ,inflection is a slide of voice1 either up or down in pitch1 or both1 on the accented syllable of a word4 ,you have learned in previous pages what kinds there are4 ,major inflections express strength3 minor express weakness4 ,rising inflections refer to something to come that shall complete the sense4 ,if you speak a phrase that needs another to complete its meaning1 you will use a rising inflection to connect them4 ,if you defer to another's will1 opinion1 or knowledge1 in what you say1 you will use a rising inflection4 ,if you speak of two or more things1 thinking of them as a whole1 and not separately1 you use a rising inflection4 ,falling inflections are used when a phrase or sentence is complete in itself4 ,if you state your own will1 opinion1 or knowledge1 you will use falling inflection4 ,if you speak of two or more things separately1 wishing to make each one by itself distinct in the hearer's mind1 you will use falling inflections4 ,circumflex inflections1 being composed of rising and falling inflections combined1 are doubtful in meaning2 for if rising means one thing1 and falling means another1 a combination must mean doubt4 ,it expresses irony1 sarcasm1 c4 ,monotone is a varying of inflection within very narrow limits1 and comes as near to chanting as the voice can1 and still retain the expressiveness of inflection in speech4 ,it expresses any slow-moving emotions1 as grandeur1 awe1 solemnity1 c4 ,practise the short extracts under each head until you are sure you give the right inflection in the right place4 ,,major ,,rising ,,inflection4 #a4 ,would the influence of the ,bible1 even if it were not the record of a divine revelation1 be to render princes more tyrannical1 or subjects more ungovernable2 the rich more insolent1 or the poor more disorderly8 ,would it make worse parents or children1 husbands or wives1 masters or servants1 friends or neighbors8 #b4 ,but why pause here8 ,is so much ambition praiseworthy1 and more criminal8 ,is it fixed in nature that the limits of this empire should be ,egypt on the one hand1 the ,hellespont and ,euxine on the other8 ,were not ,suez and ,armenia more natural limits8 ,or hath empire no natural limit1 but is broad as the genius that can devise1 and the power that can win8 #c4 ,shine they for aught but earth1 ,these silent stars8 ,and1 when they sprang to birth1 ,who broke the bars ,and let their radiance out ,to kindle space1 ,when rang ,god's morning shout ,o'er the glad race8 ,are they all desolate1 ,these silent stars2 ,hung in their spheres by fate1 ,which nothing mars8 ,or are they guards of ,god1 ,shining in prayer1 ,on the same path they've trod ,since light was there8 ,,major ,,falling ,,inflections4 #a4 ,stand up erect6 ,thou hast the form ,and likeness of thy ,god3 who more8 ,a soul as dauntless mid the storm ,of daily life1 a heart as warm ,and pure1 as breast e'er wore4 #b4 ,methinks ,i hear hither your husband's drum2 ,see him pluck ,aufidius down by the hair1 ,as children from a bear1 the ,voices shunning him2 ,methinks ,i see him stamp thus1 and call thus1-- ,come on1 you cowards6 you were got in fear1 ,though you were born in ,rome3 his bloody brow ,with his mailed hand then wiping1 forth he goes1 ,like to a harvest-man that's tasked to mow ,or all1 or lose his hire4 #c4 ,mahomet still lives in his practical and disastrous influence in the ,east4 ,napoleon still is ,france1 and ,france is almost ,napoleon4 ,martin ,luther's dead dust sleeps at ,wittenberg2 but ,martin ,luther's accents still ring through the churches of ,christendom4 ,shakspeare1 ,byron1 and ,milton1 all live in their influence1--for good or evil4 ,the apostle from his chair1 the minister from his pulpit1 the martyr from his flame-shroud1 the statesman from his cabinet1 the soldier in the field1 the sailor on the deck1 who all have passed away to their graves1 still live in the practical deeds that they did1 in the lives they lived1 and in the powerful lessons that they left behind them4 ,,minor ,,rising ,,inflections4 #a4 ,let me see him once before he dies8 ,let me hear his voice once more8 ,i entreat you1 let me enter4 #b4 ,stay1 lady1 stay1 for mercy's sake1 ,and hear a helpless orphan's tale6 ,ah6 sure my looks must pity wake3 ',tis want that makes my cheek so pale4 ,yet ,i was once a mother's pride1 ,and my brave father's hope and joy2 ,but in the ,nile's proud fight he died1 ,and ,i am now an orphan-boy4 #c4 ,they answer1 ,who is ,god that he should hear us ,while the rushing of the iron wheels is stirred8 ,when we sob aloud1 the human creatures near us ,pass by1 hearing not1 or answer not a word4 ,is it likely ,god1 with angels singing round him1 ,hears our weeping1 any more8 ,,minor ,,falling ,,inflections4 #a4 ,god forbid that we should outlive the love of our children6 ,rather let us die while their hearts are a part of our own1 that our grave may be watered with their tears1 and our love linked with their hopes of heaven4 #b4 ,her suffering ended with the day2 ,yet lived she at its close1 ,and breathed the long1 long night away ,in statue-like repose4 ,but1 when the sun in all his state ,illumed the eastern skies1 ,she passed through glory's morning-gate1 ,and walked in paradise4 #c4 ,father cardinal1 ,i have heard you say ,that we shall see and know our friends in heaven4 ,if that be true1 ,i shall see my boy again2 ,for since the birth of ,cain1 the first male child1 ,to him that did but yesterday suspire1 ,there was not such a gracious creature born4 ,but now will canker-sorrow eat my bud1 ,and chase the native beauty from his cheek2 ,and he will look as hollow as a ghost1 ,as dim and meagre as an ague's fit3 ,and so he'll die2 and1 rising so again1 ,when ,i shall meet him in the court of heaven ,i shall not know him3 therefore never1 never ,must ,i behold my pretty ,arthur more4 ,,circumflex ,,inflection4 #a4 ,were ,i in ,england now 7as once ,i was71 and had but this fish painted1 not a holiday-fool there but would give a piece of silver4 ,there would this monster make a man3 any strange beast there makes a man4 ,when they will not give a doit to relieve a lame beggar1 they will lay out ten to see a dead ,indian4 #b4 ,if to do were as easy as to know what were good to do1 chapels had been churches1 and poor men's cottages princes' palaces4 ,it is a good divine that follows his own instructions4 ,i can easier teach twenty what were good to be done than be one of the twenty to follow mine own teaching4 ,the brain may devise laws for the blood2 but a hot temper leaps over a cold decree3 such a hare is madness the youth to skip o'er the meshes of good counsel the cripple4 #c4 ,hold1 there6 the other quick replies3 ',tis green3 ,i saw it with these eyes1 ,as late with open mouth it lay1 ,and warmed it in the sunny ray4 ,stretched at its ease1 the beast ,i viewed1 ,and saw it eat the air for food4 ,i've seen it1 sir1 as well as you1 ,and must again affirm it blue3 ,at leisure ,i the beast surveyed1 ,extended in the cooling shade4 ',tis green1 'tis green1 sir1 ,i assure ye6 ,green6 cries the other in a fury3 ,why1 sir6 d'ye think ,i've lost my eyes8 ',twere no great loss1 the friend replies2 ,for1 if they always serve you thus1 ,you'll find them of but little use4 ,,monotone4 #a4 ,when for me the silent oar ,parts the ,silent ,river1 ,and ,i stand upon the shore ,of the strange ,forever1 ,shall ,i miss the loved and known8 ,shall ,i vainly seek mine own8 #b4 ,ye golden lamps of heaven1 farewell1 with all your feeble light6 ,farewell1 thou ever-changing moon1 pale empress of the night6 ,and thou1 effulgent orb of day1 in brighter flames arrayed1 ,my soul1 which springs beyond thy sphere1 no more demands thy aid4 ,ye stars are but the shining dust of my divine abode1 ,the pavement of those heavenly courts where ,i shall reign with ,god4 #c4 ,father of earth and heaven1 ,i call thy name6 ,round me the smoke and shout of battle roll2 ,my eyes are dazzled with the rustling flame3 ,father1 sustain an untried soldier's soul4 ,or life or death1 whatever be the goal ,that crowns or closes round this struggling hour1 ,thou know'st1 if ever from my spirit stole ,one deeper prayer1 'twas that no cloud might lower ,on my young fame4 ,oh1 hear1 ,god of eternal power6 ,,pitch4 ,the general pitch of voice varies with the emotion4 ,some feelings we are prompted to express in the high tones1 as joy2 some in the lower tones1 as awe3 but1 without practice1 very few have command of the higher and lower tones2 and1 when they attempt to read1 they cannot give the requisite variety to make it expressive4 ,it is important that these exercises should be studied until you can as easily read in your highest and lowest tones as in your natural conversational or middle tones4 ,in high pitch1 read in as high pitch as you can1 and at the same time keep the tone pure1 and you will find your voice gradually gain in compass4 ,in middle pitch1 read in your conversational tone1 with earnestness4 ,in low pitch1 read somewhat lower than middle pitch1 and make as full a tone as you can4 ,in very low pitch1 read as low in pitch as you can with ease1 and do not try to make it loud or full until you have had considerable practice4 ,don't pinch or strain the throat3 if you do1 the quality will be bad4 ,,high ,,pitch4 #a4 ,merrily swinging on brier and weed1 ,near to the nest of his little dame1 ,over the mountain-side or mead1 ,robert of ,lincoln is telling his name1-- ,bob-o-link1 bob-o-link1 ,spink1 spank1 spink6 ,snug and safe is that nest of ours ,hidden among the summer flowers3 ,chee1 chee1 chee6 #b4 ,oh6 did you see him riding down1 ,and riding down1 while all the town ,came out to see1 came out to see1 ,and all the bells rang mad with glee8 ,oh6 did you hear those bells ring out1 ,the bells ring out1 the people shout8 ,and did you hear that cheer on cheer ,that over all the bells rang clear8 #c4 ,i am that merry wanderer of the night3 ,i jest to ,oberon1 and make him smile1 ,when ,i1 a fat and bean-fed horse1 beguile1 ,neighing in likeness of a silly foal4 ,and sometimes lurk ,i in a gossip's bowl1 ,in very likeness of a roasted crab2 ,and1 when she drinks1 against her lips ,i bob1 ,and on her withered dew-lap pour the ale4 ,,middle ,,pitch4 #a4 ,the honey-bee that wanders all day long ,the field1 the woodland1 and the garden o'er1 ,to gather in his fragrant winter-store1 ,humming in calm content his quiet song1 ,sucks not alone the rose's glowing breast1 ,the lily's dainty cup1 the violet's lips2 ,but from all rank and noisome weeds he sips ,the single drop of sweetness ever pressed ,within the poison chalice4 ,thus1 if we ,seek only to draw forth the hidden sweet ,in all the varied human flowers we meet ,in the wide garden of ,humanity1 ,and1 like the bee1 if home the spoil we bear1 ,hived in our hearts1 it turns to nectar there4 #b4 ,now the laughing1 jolly ,spring began to show her buxom face in the bright morning4 ,the buds began slowly to expand their close winter folds1 the dark and melancholy woods to assume an almost imperceptible purple tint2 and here and there a little chirping blue-bird hopped about the orchards4 ,strips of fresh green appeared along the brooks1 now released from their icy fetters2 and nests of little variegated flowers1 nameless1 yet richly deserving a name1 sprang up in the sheltered recesses of the leafless woods4 #c4 ,i know1 the more one sickens1 the worse at ease he is2 and that he that wants money1 means1 and content1 is without three good friends2 that the property of rain is to wet1 and fire to burn2 that good pasture makes fat sheep1 and that a great cause of the night is lack of the sun2 that he that hath learned no wit by nature or art may complain of good breeding1 or comes of a very dull kindred4 ,,low ,,pitch4 #a4 ,mid the flower-wreathed tombs ,i stand1 ,bearing lilies in my hand4 ,comrades1 in what soldier-grave ,sleeps the bravest of the brave8 ,is it he who sank to rest ,with his colors round his breast8 ,friendship makes his tomb a shrine3 ,garlands veil it2 ask not mine4 #b4 ,god1 thou art merciful4 ,the wintry storm1 ,the cloud that pours the thunder from its womb1 ,but show the sterner grandeur of thy form4 ,the lightnings glancing through the midnight gloom1 ,to ,faith's raised eye as calm1 as lovely1 come ,as splendors of the autumnal evening star1 ,as roses shaken by the breeze's plume1 ,when like cool incense comes the dewy air1 ,and on the golden wave the sunset burns afar4 #c4 ,o thou ,eternal ,one6 whose presence bright ,all space doth occupy1 all motion guide2 ,unchanged through ,time's all-devastating flight2 ,thou only ,god6--there is no ,god beside6 ,being above all beings6 ,three-in-one6 ,whom none can comprehend1 and none explore2 ,who fill'st existence with ,thyself alone2 ,embracing all1 supporting1 ruling o'er2 ,being whom we call ,god1 and know no more6 ,,very ,,low ,,pitch4 #a4 ,when in the silent night all earth lies hushed ,in slumber2 when the glorious stars shine out1 ,each star a sun1 each sun a central light ,of some fair system1 ever wheeling on ,in one unbroken round1 and that again ,revolving round another sun2 while all1 ,suns1 stars1 and systems1 proudly roll along ,in one majestic1 ever-onward course1 ,in space uncircumscribed and limitless1-- ,oh6 think you then the undebased soul ,can calmly give itself to sleep1--to rest8 #b4 ,go stand upon the heights at ,niagara1 and listen in awe-struck silence to that boldest most earnest and eloquent1 of all ,nature's orators6 ,and what is ,niagara1 with its plunging waters and its mighty roar1 but the oracle of ,god1 the whisper of ,his voice who is revealed in the ,bible as sitting above the water-floods forever8 #c4 ,the drums are all muffled2 the bugles are still2 ,there's a pause in the valley1 a halt on the hill2 ,and the bearers of standards swerve back with a thrill ,where the sheaves of the dead bar the way3 ,for a great field is reaped1 heaven's garners to fill2 ,and stern ,death holds his harvest to-day4 ,,quality4 ,as there are all kinds and qualities of emotions1 so there are all kinds and qualities of voice to express them4 ,the shade and varieties of these qualities are as infinite in number as the emotions they express4 ,we need1 however1 in practice1 to make but four general divisions1--whisper1 aspirate1 pure1 and orotund4 ,the whisper expresses secrecy1 fear1 and like emotions4 ,it is seldom required in reading1 as the aspirate is expressive of the same1 and you would be likely to use that instead of whisper4 ,you should practise the whisper until you can make it very clear1 and free from all impurity1 or sound of throat1 and full1 so as to be heard at a distance4 ,in both whisper and aspirate leave the throat free and open2 and be energetic1 remembering that force is made by control of muscles at the waist1 and not by effort of throat or mouth4 ,the clearer you can make a whisper1 the better quality you can make in pure and orotund4 ,pure tone or quality is sound made with no disagreeable quality being heard2 and is the same as pleasant quality1 spoken of as being necessary to make listeners4 ,pure quality is made with ease1 with no waste of breath1 and is used for expression of agreeable feelings4 ,orotund is a magnified1 pure tone1 and adds richness and power to the voice in speech4 ,it is the expression of intense feelings1 usually slow in movement1 as grandeur1 sublimity1 awe1 c4 ,it can only be obtained by much practice and much patience1 allowing the voice to grow in fulness1 as it will in time1 if practice continues4 ,,whisper4 #a4 ,deep stillness fell on all around3 ,through that dense crowd was heard no sound ,of step or word4 #b4 ,how dark it is6 ,i cannot seem to see ,the faces of my flock4 ,is that the sea ,that murmurs so8 or is it weeping8 ,hush1 ,my little children6 ,god so loved the world1 ,he gave his ,son3 so love ye one another4 ,love ,god and man4 ,amen6 #c4 ,hush6 'tis a holy hour6 ,the quiet room ,seems like a temple2 while yon soft lamp sheds ,a faint and starry radiance through the gloom ,and the sweet stillness down on bright young heads1 ,with all their clustering locks untouched by care1 ,and bowed1 as flowers are bowed with night1 in prayer4 ,,aspirate4 #a4 ,hush6 draw the curtain1--so6 ,she is dead1 quite dead1 you see4 ,poor little lady6 ,she lies ,with the light gone out of her eyes2 ,but her features still wear that soft1 ,gray1 meditative expression ,which you must have noticed oft4 #b4 ,lord of the winds6 ,i feel thee nigh2 ,i know thy breath in the burning sky2 ,and ,i wait with a thrill in every vein ,for the coming of the hurricane4 ,and1 lo6 on the wing of the heavy gales1 ,through the boundless arch of heaven1 he sails3 ,silent and slow1 and terribly strong1 ,the mighty shadow is borne along1 ,like the dark eternity to come2 ,while the world below1 dismayed and dumb1 ,through the calm of the thick hot atmosphere ,looks up at its gloomy folds with fear4 #c4 ',tis midnight's holy hour2 and silence now ,is brooding like a gentle spirit o'er ,the still and pulseless world4 ,hark6 on the winds ,the bell's deep tones are swelling3 'tis the knell ,of the departed year4 ,no funeral train ,is sweeping past3 yet on the stream and wood1 ,with melancholy light1 the moonbeams rest ,like a pale1 spotless shroud2 the air is stirred ,as by a mourner's sigh2 and on yon cloud1 ,that floats so still and placidly through heaven1 ,the spirits of the seasons seem to stand1-- ,young ,spring1 bright ,summer1 ,autumn's solemn form1 ,and ,winter with its aged locks1--and breathe1 ,in mournful cadences that come abroad ,like the far wind-harp's wild and touching wail1 ,a melancholy dirge o'er the dead year1 ,gone from the earth forever4 ,,pure4 #a4 ,your voiceless lips1 ,o flowers6 are living preachers1 ,each cup a pulpit1 and each leaf a book1 ,supplying to my fancy numerous teachers ,in loneliest nook4 #b4 ,ring out1 wild bells1 to the wild sky1 ,the flying cloud1 the frosty light2 ,the year is dying in the night3 ,ring out1 wild bells1 and let him die4 ,ring out the old2 ring in the new2 ,ring1 happy bells1 across the snow3 ,the year is going2 let him go3 ,ring out the false1 ring in the true4 #c4 ,was it the chime of a tiny bell ,that came so sweet to my dreaming ear1 ,like the silvery tones of a fairy's shell1 ,that he winds on the beach1 so mellow and clear1 ,when the winds and the waves lie together asleep1 ,and the moon and the fairy are watching the deep1-- ,she dispensing her silvery light1 ,and he his notes as silvery quite1-- ,while the boatman listens1 and ships his oar1 ,to catch the music that comes from the shore8 ,hark6 the notes on my ear that play ,are set to words3 as they float1 they say1 ,passing away1 passing away6 ,,orotund4 #a4 ,approach and behold while ,i lift from his sepulchre its covering4 ,ye admirers of his greatness1 ye emulous of his talents and his fame1 approach1 and behold him now4 ,how pale6 how silent6 ,no martial bands admire the adroitness of his movements1 no fascinating throng weep and melt and tremble at his eloquence4 ,amazing change6 ,a shroud1 a coffin1 a narrow subterraneous cabin1--this is all that now remains of ,hamilton4 ,and is this all that remains of him8 ,during a life so transitory1 what lasting monument1 then1 can our fondest hopes erect6 #b4 ,a seraph by the throne ,in the full glory stood4 ,with eager hand ,he smote the golden harp-strings1 till a flood ,of harmony on the celestial air ,welled forth unceasing3 then with a great voice ,he sang the ,holy1 holy1 evermore1 ,lord ,god ,almighty6 and the eternal courts ,thrilled with the rapture2 and the hierarchies1 ,angel and rapt archangel1 throbbed and burned ,with vehement adoration4 ,higher yet ,rose the majestic anthem without pause1-- ,higher1 with rich magnificence of sound1 ,to its full strength2 and still the infinite heavens ,rang with the ,holy1 holy1 evermore6 #c4 ,god1 thou art mighty4 ,at thy footstool bound1 ,lie1 gazing to thee1 ,chance and ,life and ,death4 ,nor in the angel-circle flaming round1 ,nor in the million worlds that blaze beneath1 ,is one that can withstand thy wrath's hot breath4 ,woe in thy frown2 in thy smile victory4 ,hear my last prayer4 ,i ask no mortal wreath3 ,let but these eyes my rescued country see2 ,then take my spirit1 ,all-,omnipotent1 to thee4 ,for examples of pure tone1 see ,reading ,club1 ,no4 #a1 pages #ed and #hb2 ,no4 #b1 page #fc2 ,no4 #c1 pages #aa1 #di2 ,no4 #d1 pages #bi1 #cf1 #ha4 ,for orotund1 ,no4 #a1 page #db2 ,no4 #b1 page #fd2 ,no4 #c1 page #be2 ,no4 #d1 page #fa4 ,,movement4 ,by different emotions you are prompted to speak words in quick or slow utterance1 as in joy or anger you would be prompted to utter words quickly2 while in majesty1 sublimity1 awe1 you would speak slowly4 ,you should practise movement1 that you may be able to read rapidly and with perfect articulation1 and also to read slowly with proper phrasing4 ,in quick movement1 read as fast as you can with proper articulation1 phrasing1 and emphasis4 ,in moderate movement1 read as in ordinary earnest conversation4 ,in slow and very slow movement1 phrase well1 as in these the emphatic words have the longest time given to them1 the secondarily emphatic ones less time1 and the connecting words the least time2 and it is a great art to proportion them rightly4 ,if you do not do the latter1 you will drawl4 ,,quick ,,movement4 #a4 ,boot1 saddle1 to horse1 and away6 ,rescue my castle before the hot day ,brightens to blue from its silvery gray3 ,boot1 saddle1 to horse1 and away6 #b4 ,but hark6 above the beating of the storm ,peals on the startled ear the fire-alarm4 ,yon gloomy heaven's aflame with sudden light2 ,and heart-beats quicken with a strange affright4 ,from tranquil slumber springs1 at duty's call1 ,the ready friend no danger can appall3 ,fierce for the conflict1 sturdy1 true1 and brave1 ,he hurries forth to battle and to save4 #c4 ,after him came1 spurring hard1 ,a gentleman almost forespent with speed1 ,that stopped by me to breathe his bloodied horse4 ,he asked the way to ,chester2 and of him ,i did demand what news from ,shrewsbury4 ,he told me that rebellion had bad luck1 ,and that young ,harry ,percy's spur was cold3 ,with that he gave his able horse the head1 ,and1 bending forward1 struck his armed heels ,against the panting sides of his poor jade ,up to the rowel-head2 and1 starting so1 ,he seemed1 in running1 to devour the way1 ,staying no longer question4 ,,moderate ,,movement4 #a4 ,yes1 ,tom's the best fellow that ever you knew4 ,just listen to this3-- ,when the old mill took fire1 and the flooring fell through1 ,and ,i with it1 helpless there1 full in my view ,what do you think my eyes saw through the fire1 ,that crept along1 crept along1 nigher and nigher1 ,but ,robin1 my baby-boy1 laughing to see ,the shining8 ,he must have come there after me1 ,troddled alone from the cottage4 #b4 ,oratory1 as it consists in the expression of the countenance1 graces of attitude and motion1 and intonation of voice1 although it is altogether superficial and ornamental1 will always command admiration2 yet it deserves little veneration4 ,flashes of wit1 coruscations of imagination1 and gay pictures1--what are they8 ,strict truth1 rapid reason1 and pure integrity1 are the only essential ingredients in oratory4 ,i flatter myself that ,demosthenes1 by his action1 action1 action1 meant to express the same opinion4 #c4 ,waken1 voice of the land's devotion6 ,spirit of freedom1 awaken all6 ,ring1 ye shores1 to the song of ocean6 ,rivers1 answer6 and1 mountains1 call6 ,the golden day has come3 ,let every tongue be dumb ,that sounded its malice1 or murmured its fears4 ,she hath won her story2 ,she wears her glory3 ,we crown her the land of a hundred years6 ,,slow ,,movement4 #a4 ,within this sober realm of leafless trees ,the russet year inhaled the dreamy air1 ,like some tanned reaper in his hour of ease ,when all the fields are lying brown and bare4 #b4 ,as some tall cliff that lifts its awful form1 ,swells from the vale1 and midway leaves the storm1 ,though round its breast the rolling clouds are spread1 ,eternal sunshine settles on its head4 #c4 ,father1 guide me6 ,day declines2 ,hollow winds are in the pines2 ,darkly waves each giant bough ,o'er the sky's last crimson glow2 ,hushed is now the convent's bell1 ,which erewhile1 with breezy swell1 ,from the purple mountains bore ,greeting to the sunset shore2 ,now the sailor's vesper-hymn ,dies away4 ,father1 in the forest dim ,be my stay6 ,,very ,,slow ,,movement4 #a4 ,toll1 toll1 toll1 ,thou bell by billows swung6 ,and night and day thy warning words ,repeat with mournful tongue6 ,toll for the queenly boat ,wrecked on yon rocky shore3 ,seaweed is in her palace-halls2 ,she rides the surge no more4 #b4 ,now o'er the drowsy earth still night prevails2 ,calm sleep the mountain-tops and shady vales1 ,the rugged cliffs and hollow glens4 ,the wild beasts slumber in their dens1 ,the cattle on the hill4 ,deep in the sea ,the countless finny race and monster brood ,tranquil repose4 ,even the busy bee ,forgets her daily toil4 ,the silent wood ,no more with noisy form of insect rings2 ,and all the feathered tribes1 by gentle sleep subdued1 ,roost in the glade1 and hang their drooping wings4 #c4 ,my ,father1 ,god1 lead on6 ,calmly ,i follow where thy guiding hand ,directs my steps4 ,i would not trembling stand1 ,though all before the way ,is dark as night3 ,i stay ,my soul on thee1 and say1 ,father1 ,i trust thy love3 lead on6 ,,force4 ,every emotion which you have you feel more or less intensely1 and that intensity is expressed through the force of the voice4 ,the degree of force with which you speak will be according to the degree of intensity of emotion2 and even in the gentlest tone you can express as forcibly as in the loudest4 ,according to your strength of body and mind1 and intensity of feeling1 you have been accustomed to express in a strong or feeble voice4 ,force needs to be practised to enable you to fill a large hall with your gentlest tone1 and to make very loud tones without straining of throat4 ,in gentle force1 sustain the breath well1 as in fulness and power1 observing directions there given2 and make your tone soft and pure4 ,in moderate force1 be as energetic as in earnest conversation4 ,in loud and very loud force1 observe directions under ,fulness and ,power4 ,,gentle ,,force4 #a4 ,a noise as of a hidden brook ,in the leafy month of ,june1 ,that to the sleeping woods all night ,singeth a quiet tune4 #b4 ,o blithe new-comer6 ,i have heard1 ,i hear thee1 and rejoice3 ,o cuckoo6 shall ,i call thee bird1 ,or but a wandering voice8 ,thrice welcome1 darling of the spring6 ,even yet thou art to me ,no bird1 but an invisible thing1 ,a voice1 a mystery4 #c4 ,around this lovely valley rise ,the purple hills of ,paradise2 ,oh6 softly on yon banks of haze ,her rosy face the ,summer lays2 ,becalmed along the azure sky ,the argosies of ,cloud-land lie1 ,whose shores1 with many a shining rift1 ,far off their pearl-white peaks uplift4 ,,moderate ,,force4 #a4 ,robert of ,lincoln is gayly dressed1 ,wearing a bright black wedding-coat3 ,white are his shoulders1 and white his crest4 ,hear him call1 in his merry note1 ,bob-o-link1 bob-o-link1 ,spink1 spank1 spink6 ,look1 what a nice new coat is mine6 ,sure there was never a bird so fine4 ,chee1 chee1 chee6 #b4 ,o young men and women6 there is no picture of ideal excellence of manhood and womanhood that ,i ever draw that seems too high1 too beautiful1 for your young hearts4 ,what aspirations there are for the good1 the true1 the fair1 and the holy6 ,the instinctive affections--how beautiful they are1 with all their purple prophecy of new homes and generations of immortals that are yet to be6 ,the high instincts of reason1 of conscience1 of love1 of religion1--how beautiful and grand they are in the young heart6 #c4 ,she was a darling little thing3 ,i worshipped her outright4 ,when in my arms she smiling lay2 ,when on my knees she climbed in play2 ,when round my neck her arms would cling1 ,as crooning songs ,i used to sing2 ,when on my back she gayly rode1 ,then strong beneath its precious load2 ,when at my side1 in summer days1 ,she gambolled in her childish plays2 ,when1 throughout all the after-years1 ,i watched with trembling hopes and fears ,the infant to a woman grow1-- ,i worshipped then1 as ,i do now1 ,my life's delight4 ,,loud ,,force4 #a4 ,hark to the bugle's roundelay6 ,boot and saddle6 ,up and away6 ,mount and ride as ye ne'er rode before2 ,spur till your horses' flanks run gore2 ,ride for the sake of human lives2 ,ride as ye would were your sisters and wives ,cowering under their scalping-knives4 ,boot and saddle6 ,away1 away6 #b4 ,news of battle6 news of battle6 ,hark6 'tis ringing down the street1 ,and the archways and the pavement ,bear the clang of hurrying feet4 ,news of battle6--who hath brought it8 ,news of triumph6--who should bring ,tidings from our noble army1 ,greetings from our gallant king6 #c4 ,and1 lo6 from the assembled crowd ,there rose a shout1 prolonged and loud1 ,that to the ocean seemed to say1 ,take her1 ,o bridegroom old and gray6 ,take her to thy protecting arms1 ,with all her youth and all her charms4 ,,very ,,loud ,,force4 #a4 ,now1 men6 now is your time6 ,make ready6 take aim6 fire6 #b4 ,up the hillside1 down the glen1 ,rouse the sleeping citizen1 ,summon out the might of men6 ,clang the bells in all your spires6 ,on the gray hills of your sires ,fling to heaven your signal-fires6 ,oh1 for ,god and ,duty stand1 ,heart to heart1 and hand to hand1 ,round the old graves of your land6 #c4 ,now for the fight6 now for the cannon-peal6 ,forward1 through blood and toil and cloud and fire6 ,glorious the shout1 the shock1 the crash of steel1 ,the volley's roll1 the rocket's blasting spire6 ,they shake2 like broken waves their squares retire4 ,on them1 hussars6 ,now give them rein and heel6 ,think of the orphaned child1 the murdered sire6 ,earth cries for blood4 ,in thunder on them wheel6 ,this hour to ,europe's fate shall set the triumph seal4 ,,stress4 ,in expressing your emotions1 the voice is ejected in various ways2 perhaps in a jerky or trembling or flowing manner1 as may be1 depending on the kind of emotion you feel4 ,this is called ,stress2 and you have learned how1 mechanically1 to make it4 ,radical ,stress is used when you try to impress upon others your exact meaning4 ,practise it with that thought in your mind4 ,median ,stress is used in appeal to the best affections1 and expresses agreeable emotions4 ,the swell comes on emphatic words4 ,terminal ,stress is used in expressions of anger1 petulance1 impatience1 and the like4 ,thorough ,stress is used in calling to persons at a long distance1 but has little place in expression4 ,it is frequently substituted by bad readers or speakers for ,median or ,terminal ,stress4 ,compound ,stress is used in strong passion2 and being a compound of ,radical and ,terminal ,stress1 and used with circumflex inflections1 it combines the meaning of them all1 as sarcasm1 irony1 c41 mixed with anger1 impatience1 doubt1 c4 ,tremolo ,stress is used in excessive emotion2 as joy1 anger1 sorrow1 in excess1 would cause the voice to tremble4 ,you should practise this in order to avoid it1 as1 when ,tremolo does not proceed from real excess of feeling1 it has a very ludicrous effect4 ,practise the following exercises by thinking and feeling the idea and emotion4 ,,radical ,,stress4 #a4 ,hark1 hark6 the lark sings mid the silvery blue3 ,behold her flight1 proud man1 and lowly bow4 #b4 ,there is the act of utterance1 a condition that exists between you and myself4 ,i speak1 and you hear2 but how8 ,the words issue from my lips1 and reach your ears2 but what are those words8 ,volumes of force communicated to the atmosphere1 whose elastic waves carry them to fine recipients in your own organism4 ,but still ,i ask1 ,how8 ,how is it that these volumes of sound should convey articulate meaning1 and carry ideas from my mind into your own8 #c4 ,i call upon you1 fathers1 by the shades of your ancestors1 by the dear ashes which repose in this precious soil1 by all you are and all you hope to be1--resist every object of disunion2 resist every encroachment upon your liberties2 resist every attempt to fetter your consciences1 or smother your public schools1 or extinguish your system of public instruction4 ,,median ,,stress4 #a4 ,the earth is the ,lord's1 and the fulness thereof2 ,the world1 and they that dwell therein3 ,for he hath founded it upon the seas1 ,and established it upon the floods4 #b4 ,oh divine1 oh delightful legacy of a spotless reputation6 ,rich is the inheritance it leaves2 pious the example it testifies2 pure1 precious1 and imperishable the hope which it inspires4 ,can there be conceived a more atrocious injury than to filch from its possessor this inestimable benefit2 to rob society of its charm1 and solitude of its solace2 not only to outlaw life1 but to attaint death1 converting the very grave1 the refuge of the sufferer1 into the gate of infamy and of shame8 #c4 ,how sleep the brave who sink to rest ,with all their country's wishes blest6 ,when ,spring1 with dewy fingers cold1 ,returns to deck their hallowed mould1 ,it there shall dress a sweeter sod ,than blooming ,fancy ever trod4 ,by fairy hands their knell is rung2 ,by forms unseen their dirge is sung3 ,there ,honor walks1 a pilgrim gray1 ,to deck the turf that wraps their clay2 ,and ,freedom shall a while repair ,to dwell a weeping hermit there4 ,,terminal ,,stress4 #a4 ,i'll have my bond2 ,i will not hear thee speak3 ,i'll have my bond2 and therefore speak no more3 ,i'll not be made a soft and dull-eyed fool1 ,to shake the head1 relent1 and sigh1 and yield ,to ,christian intercessors4 #b4 ,nor sleep nor sanctuary1 ,being naked1 sick1 nor fane nor capitol1 ,the prayers of priests1 nor times of sacrifice1 ,embarkments all of fury1 shall lift up ,their rotten privilege and custom 'gainst ,my hate to ,marcius3 where ,i find him1 were it ,at home upon my brother's guard1--even there1 ,against the hospitable cannon1 would ,i ,wash my fierce hand in his heart4 #c4 ,a plague upon them6 ,wherefore should ,i curse them8 ,would curses kill1 as doth the mandrake's groan1 ,i would invent as bitter-searching terms1 ,as curst1 as harsh1 and horrible to hear1 ,delivered strongly through my fixd teeth1 ,with full as many signs of deadly hate1 ,as lean-faced ,envy in her loathsome cave3 ,my tongue should stumble in mine earnest words2 ,mine eyes should sparkle like the beaten flint2 ,my hair be fixed on end1 as one distract2 ,ay1 every joint should seem to curse and ban2 ,and even now my burdened heart would break1 ,should ,i not curse them4 ,,thorough ,,stress4 #a4 ,ho1 ,starbuck and ,pickney and ,tenterden6 ,run for your shallops1 gather your men1 ,scatter your boats on the lower bay6 #b4 ,run6 run for your lives1 high up on the land6 ,away1 men and children6 up quick1 and be gone6 ,the water's broke loose6 it is chasing me on6 #c4 ,they strike6 ,hurrah6 the fort has surrendered6 ,shout1 shout1 my warrior-boy1 ,and wave your cap1 and clap your hands for joy6 ,cheer answer cheer1 and bear the cheer about4 ,hurrah1 hurrah1 for the fiery fort is ours6 ,victory1 victory1 victory6 ,,compound ,,stress4 #a4 ,thou slave1 thou wretch1 thou coward1 ,thou little valiant great in villany6 ,thou wear a lion's hide6 doff it for shame1 ,and hang a calf's skin on those recreant limbs4 #b4 ,hath not a ,jew eyes8 hath not a ,jew hands1 organs1 dimensions1 senses1 affections1 passions8 fed with the same food1 hurt with the same weapons1 subject to the same diseases1 healed by the same means1 warmed and cooled by the same winter and summer1 as a ,christian is8 ,if you prick us1 do we not bleed8 if you tickle us1 do we not laugh8 if you poison us1 do we not die8 and1 if you wrong us1 shall we not revenge8 #c4 ,think you a little din can daunt mine ears8 ,have ,i not in my time heard lions roar8 ,have ,i not heard the sea1 puffed up with winds1 ,rage like an angry boar1 chafd with sweat8 ,have ,i not heard great ordnance in the field1 ,and heaven's artillery thunder in the skies8 ,have ,i not in a pitchd battle heard ,loud 'larums1 neighing steeds1 and trumpet's clang8 ,and do you tell me of a woman's tongue1 ,that gives not half so great a blow to the ear ,as will a chestnut in a farmer's fire8 ,,tremolo ,,stress4 #a4 ,there's nothing in this world can make me joy3 ,life is as tedious as a twice-told tale1 ,vexing the dull ear of a drowsy man4 #b4 ,o men with sisters dear6 ,o men with mothers and wives6 ,it is not linen you're wearing out1 ,but human creatures' lives4 ,stitch1 stitch1 stitch1 ,in poverty1 hunger1 and dirt2 ,sewing at once1 with a double thread1 ,a shroud as well as a shirt4 #c4 ,grief fills the room up of my absent child1 ,lies in his bed1 walks up and down with me1 ,puts on his pretty looks1 repeats his words1 ,remembers me of all his gracious parts1 ,stuffs out his vacant garments with his form3 ,then have ,i reason to be fond of grief4 ,,transition4 ,the changes from one kind of force to another1 or one pitch to another1 or one movement to another1 or one quality to another1 are many in expressive reading2 and these changes are called ,transition4 ,to practise it is very useful in breaking up monotony of voice1 and adding expressiveness to it4 ,in practice of these short extracts1 you are showing the benefit of practice in quality1 pitch1 movement1 and force4 ,put yourself into the thought and feeling1 and vary the voice as that1 guided by common sense1 may suggest to you4 ,see ,reading ,club1 ,no4 #a1 pp4 #de1 #ed2 ,no4 #b1 pp4 #e1 #aja2 ,no4 #c1 pp4 #i1 #gj1 #hg2 ,no4 #d1 pp4 #bf1 #db1 #ge4 #a4 ,make way for liberty6 he cried1-- ,made way for liberty1 and died6 #b4 ,peace be unto thee1 father1 ,tauler said3 ,god give thee a good day6 ,the old man raised ,slowly his calm blue eyes3 ,i thank thee1 son2 ,but all my days are good1 and none are ill4 #c4 ,they come1 they come6 the pale-face come6 ,the chieftain shouted where he stood1 ,sharp watching at the margin wood1 ,and gave the war-whoop's treble yell1 ,that like a knell on fair hearts fell ,far watching from their rocky home4 #d4 ,not yet1 not yet3 steady1 steady6 ,on came the foe in even line1 ,nearer and nearer1 to thrice paces nine4 ,we looked into their eyes4 ,ready6 ,a sheet of flame1 a roll of death6 ,they fell by scores3 we held our breath3 ,then nearer still they came4 ,another sheet of flame1 ,and brave men fled who never fled before4 #e4 ,did ye not hear it8--,no3 'twas but the wind1 ,or the car rattling o'er the stony street4 ,on with the dance6 let joy be unconfined6 ,no sleep till morn1 when youth and pleasure meet ,to chase the glowing hours with flying feet4 ,but hark6--that heavy sound breaks in once more1 ,as if the clouds its echo would repeat2 ,and nearer1 clearer1 deadlier than before6 ,arm1 arm6 it is--it is--the cannon's opening roar6 #f4 ,together6 shouts ,niagara his thunder-toned decree2 ,together6 echo back the waves upon the ,mexic ,sea2 ,together6 sing the sylvan hills where old ,atlantic roars2 ,together6 boom the breakers on the wild ,pacific shores2 ,together6 cry the people4 ,and together it shall be1 ,an everlasting charter-bond forever for the free6 ,of liberty the signet-seal1 the one eternal sign1 ,be those united emblems1--the ,palmetto and the ,pine4 #g4 ,ho1 sailor of the sea6 ,how's my boy1--my boy8 ,what's your boy's name1 good wife8 ,and in what good ship sailed he8 ,my boy ,john1-- ,he that went to sea3 ,what care ,i for the ship1 sailor8 ,my boy's my boy to me4 #h4 ,out burst all with one accord3 ,this is ,paradise for ,hell6 ,let ,france1 let ,france's king1 ,thank the man that did the thing6 ,what a shout6 and all one word1-- ,herv ,riel6 ,as he stepped in front once more1 ,not a symptom of surprise ,in the frank blue ,breton eyes3 ,just the same man as before4 #i4 ,he called his child1--no voice replied2 ,he searched1 with terror wild3 ,blood1 blood1 he found on every side1 ,but nowhere found his child4 ,hell-hound6 my child's by thee devoured1 ,the frantic father cried2 ,and to the hilt his vengeful sword ,he plunged in ,gelert's side4 ,his suppliant1 as to earth he fell1 ,no pity could impart2 ,but still his ,gelert's dying yell ,passed heavy o'er his heart4 #aj4 ,while the trumpets bray1 and the cymbals ring1 ,praise1 praise to ,belshazzar1 ,belshazzar the king6 ,now what cometh8 ,look1 look6 ,without menace or call1 ,who writes with the lightning's bright hand on the wall8 ,what pierceth the king like the point of a dart8 ,what drives the bold blood from his cheek to his heart8 ,chaldans1 magicians6 the letters expound4 ,they are read2 and ,belshazzar is dead on the ground6 #aa4 ,sir ,p4--',slife1 madam6 ,i say1 had you any of these little elegant expenses when you married me8 ,lady ,t4--,lud1 ,sir ,peter6 would you have me be out of the fashion8 ,sir ,p4--,the fashion1 indeed6 ,what had you to do with the fashion before you married me8 ,lady ,t4--,for my part1 ,i should think you would like to have your wife thought a woman of taste4 ,sir ,p4--,ay1 there again6 ,taste6 ,zounds1 madam6 you had no taste when you married me4 ,lady ,t4--,that's very true1 indeed1 ,sir ,peter2 and1 after having married you1 ,i should never pretend to taste again1 ,i allow4 #ab4 ,and what the meed8 at length ,tell asked4 ,bold fool6 when slaves like thee are tasked1 ,it is my will2 ,but that thine eye may keener be1 ,and nerved to such nice archery1 ,if thou succeed'st1 thou goest free4 ,what6 pause ye still8 ,give him a bow and arrow there3 ,one shaft1--but one4 ,madness1 despair1 ,and tortured love1 ,one moment swept the ,switzer's face2 ,then passed away each stormy trace1 ,and high resolve reigned like a grace ,caught from above4 #ac4 ,bass4--,why dost thou whet thy knife so earnestly8 ,shy4--,to cut the forfeit from that bankrupt there4 ,gra4--,can no prayers pierce thee8 ,shy4--,no1 none that thou hast wit enough to make4 ,gra4--,oh1 be thou damned1 inexorable dog1 ,and for thy life let justice be accused6 ,thou almost mak'st me waver in my faith1 ,to hold opinion with ,pythagoras1 ,that souls of animals infuse themselves ,into the trunks of men3 thy currish spirit ,governed a wolf1 who1 hanged for human slaughter1 ,even from the gallows did his fell soul fleet1 ,and1 whilst thou lay'st in thy unhallowed dam1 ,infused itself in thee2 for thy desires ,are wolfish1 bloody1 starved1 and ravenous4 ,shy4--,till thou canst rail the seal from off my bond1 ,thou but offend'st thy lungs to speak so loud4 ,repair thy wit1 good youth1 or it will fall ,to cureless ruin4--,i stand here for law4 #ad4 ,ham4--,now1 mother1 what's the matter8 ,queen4--,hamlet1 thou hast thy father much offended4 ,ham4--,mother1 you have my father much offended4 ,queen4--,come1 come1 you answer with an idle tongue4 ,ham4--,go1 go1 you question with a wicked tongue4 ,queen4--,why1 how now1 ,hamlet8 ,ham4--,what's the matter now8 ,queen4--,have you forgot me8 ,ham4--,no1 by the rood1 not so3 ,you are the queen1 your husband's brother's wife2 ,and--would it were not so6--you are my mother4 ,queen4--,nay1 then1 ,i'll set those to you that can speak4 ,ham4--,come1 come1 and sit you down3 you shall not budge2 ,you go not1 till ,i set you up a glass ,where you may see the inmost part of you4 ,,modulation4 ',tis not enough the voice be loud and clear3 ',tis ,,modulation that must charm the ear4 ,a good reader or speaker will vary his or her voice in the elements of emotional expression 7that is1 pitch1 quality1 movement1 stress1 force71 on words1 phrases1 and sentences1 in such a manner that the listeners get a suggestion of the meaning of a word by the sound of it4 ,for instance1 the words bright1 glad1 joyful1 dull1 sad1 weak1 may be pronounced in such a manner as to suggest by the quality of voice used their meaning2 and1 in the same manner1 phrases and whole sentences may have variation in voice so as to suggest their meaning4 ,this is modulation4 ,to modulate well1 first1 you must use your imagination1 to form a perfect picture in your own mind of what you wish to describe1 just as you would if you were an artist1 and were intending to paint an ideal picture2 and1 in reality1 you are an artist1 for you paint with words and tones4 ,secondly1 you should understand the exact meaning of each word1 and1 when you speak it1 make your manner of speaking it suggest its meaning4 ,suppose you were to read ,tennyson's ,song of the ,brook4 ,we will analyze as near as words may the manner of reading each verse4 ,read the whole song1 and form the picture in imagination of the flow of the water1 the scenery along its course1 the roughness or smoothness of the water as described1 the slowness or rapidity of its flow at different points1 how large or small the brook is1 making the picture as perfect as if you would paint upon canvas the whole scene4 ,,the ,,brook4 #a4 ,i come from haunts of coot and hern2 #b4 ,i make a sudden sally1 #c4 ,and sparkle out among the fern #d4 ,to bicker down a valley4 #e4 ,by thirty hills ,i hurry down1 #f4 ,or slip between the ridges2 #g4 ,by twenty thorps1 a little town1 #h4 ,and half a hundred bridges4 #i4 ,till last by ,philip's farm ,i flow #aj4 ,to join the brimming river2 #aa4 ,for men may come1 and men may go1 #ab4 ,but ,i go on forever4 #ac4 ,i chatter over stony ways #ad4 ,in little sharps and trebles2 #ae4 ,i bubble into eddying bays2 #af4 ,i babble on the pebbles4 #ag4 ,with many a curve my banks ,i fret1 #ah4 ,by many a field and fallow1 #ai4 ,and many a fairy foreland set #bj4 ,with willow-weed and mallow4 #ba4 ,i chatter1 chatter1 as ,i flow #bb4 ,to join the brimming river2 #bc4 ,for men may come1 and men may go1 #bd4 ,but ,i go on forever4 #be4 ,i wind about1 and in and out1 #bf4 ,with here a blossom sailing1 #bg4 ,and here and there a lusty trout1 #bh4 ,and here and there a grayling1 #bi4 ,and here and there a foamy flake #cj4 ,upon me as ,i travel2 #ca4 ,with many a silvery waterbreak #cb4 ,above the golden gravel2 #cc4 ,and draw them all along1 and flow1 #cd4 ,to join the brimming river2 #ce4 ,for men may come1 and men may go1 #cf4 ,but ,i go on forever4 #cg4 ,i steal by lawns and grassy plots2 #ch4 ,i slide by hazel covers2 #ci4 ,i move the sweet forget-me-nots #dj4 ,that grow for happy lovers4 #da4 ,i slip1 ,i slide1 ,i gloom1 ,i glance1 #db4 ,among my skimming swallows2 #dc4 ,i make the netted sunbeams dance #dd4 ,against my sandy shallows4 #de4 ,i murmur under moon and stars #df4 ,in brambly wildernesses2 #dg4 ,i linger by my shingly bars2 #dh4 ,i loiter round my cresses2 #di4 ,and out again ,i curve and flow #ej4 ,to join the brimming river2 #ea4 ,for men may come1 and men may go1 #eb4 ,but ,i go on forever4 ,as a whole1 this piece requires for quality of voice the pure tone2 force1 gentle2 movement1 moderate2 pitch1 middle2 stress1 median4 ,the variations in modulation must be from these1 and will be mostly variations in quality1 movement1 and pitch4 ,lines #b to #f4 ,movement1 quick2 pitch1 high2 with quality changing on words sudden1 sparkle1 bicker1 hurry1 slip1 in such a way as to suggest the meaning of the word4 ,lines #g to #ab4 ,movement1 moderate2 pitch1 middle4 ,lines #ac to #af4 ,movement1 quick2 pitch1 high2 the words chatter1 stony1 sharps1 trebles1 bubble1 babble1 spoken with suggestion of their meaning4 ,lines #ag to #bj4 ,movement1 moderate2 pitch1 middle4 ,lines #ba to #bd4 ,movement1 quick2 pitch1 high2 make quality suggest on chatter1 brimming4 ,lines #be to #bh4 ,movement1 slow2 pitch1 middle2 change to suggestive quality on wind1 blossom1 lusty4 ,lines #bi to #cf4 ,movement1 moderate2 pitch1 middle2 suggestive quality on foamy1 silvery1 golden1 brimming4 ,lines #cg to #dj4 ,movement1 slow2 pitch1 low2 suggestive quality on steal1 slide1 move1 happy4 ,lines #da1 #db4 ,movement1 pitch1 quality1 all varied on words slip1 slide1 gloom1 glance4 ,lines #dc1 #dd4 ,movement1 quick2 pitch1 high2 suggestive quality on dance1 shallows4 ,lines #de to #dh4 ,movement1 slow2 pitch1 low2 quality1 very slightly aspirate2 suggestive quality on murmur1 linger1 loiter4 ,lines #di to #eb4 ,movement1 moderate2 pitch1 middle2 suggestive quality on brimming4 ,this analysis is very imperfect1 as it is impossible in words to explain it4 ,what modulation requires is1 as a popular author says1 genius and sense on your part1 and you will be enabled to do as here is imperfectly suggested4 ,you will do well to select some pieces1 and analyze them1 as here suggested4 ,in ,longfellow's launch of the ship1 in his poem ,building of the ,ship1 picture the whole scene in imagination1 the size and kind of ship1 the number of the crowd1 c4 ,the following pieces are marked so that you may get a general idea of what is required for emotional expression in each4 ,no marking can give you particulars of what is necessary1 as the modulation of voice or variety in emotional expression--the light and shadow in the coloring of your word-picture--must depend upon your artistic sense and genius4 ,imagine your picture1 understand the meaning of every word and suggest its meaning in tone1 concentrate yourself in the thought and feeling of the piece1 and let your voice be governed by that1 and you will not go far wrong if you have faithfully practised what has been recommended in the previous pages of this book4 #a4 ,pure quality1 gentle force1 slow movement1 middle pitch1 median stress4 ,those evening bells1 those evening bells6 ,how many a tale their music tells ,of youth and home1 and that sweet time ,when last ,i heard their soothing chime6 ,those joyous hours are passed away2 ,and many a heart that then was gay ,within the tomb now darkly dwells1 ,and hears no more those evening bells4 ,and so 'twill be when ,i am gone3 ,that tuneful peal will still ring on2 ,while other bards shall walk these dells1 ,and sing your praise1 sweet evening bells4 #b4 ,orotund quality1 with fulness and power1 varying middle and low pitch1 moderate and quick movement1 median and radical stress mixed4 ,with storm-daring pinion and sun-gazing eye ,the gray forest eagle is king of the sky4 ,from the crag-grasping fir-top where morn hangs its wreath1 ,he views the mad waters white writhing beneath4 ,a fitful red glaring1 a rumbling jar1 ,proclaim the storm-demon still raging afar3 ,the black cloud strides upward1 the lightning more red1 ,and the roll of the thunder more deep and more dread2 ,a thick pall of darkness is cast o'er the air2 ,and on bounds the blast with a howl from its lair4 ,the lightning darts zig-zag and forked through the gloom2 ,and the bolt launches o'er with crash1 rattle1 and boom3 ,the gray forest eagle--where1 where has he sped8 ,does he shrink to his eyrie1 or shiver with dread8 ,does the glare blind his eye8 ,has the terrible blast ,on the wing of the sky-king a fear-fetter cast8 ,no1 no6 the brave eagle1 he thinks not of fright3 ,the wrath of the tempest but rouses delight4 ,to the flash of the lightning his eye casts a gleam2 ,to the shriek of the wild blast he echoes his scream2 ,and with front like a warrior that speeds to the fray1 ,and a clapping of pinions1 he's up and away4 ,away--oh6 away--soars the fearless and free2 ,what recks he the skies' strife8 its monarch is he6 ,the lightning darts round him1 undaunted his sight2 ,the blast sweeps against him1 unwavered his flight3 ,high upward1 still upward1 he wheels1 till his form ,is lost in the black scowling gloom of the storm4 #c4 ,pure to orotund quality1 gentle to moderate force1 moderate movement1 middle pitch1 radical and median stress mixed4 ,this contains many words that can be pronounced with a quality or variation suggesting their meaning4 99 99 99 99 99 ,rhetoric as taught in our seminaries and by elocutionists is one thing3 genuine1 heart-thrilling1 soul-stirring eloquence is a very different thing4 ,the one is like the rose in wax1 without odor2 the other like the rose on its native bush1 perfuming the atmosphere with the rich odors distilled from the dew of heaven4 ,the one is the finely-finished statue of a ,cicero or ,demosthenes1 more perfect in its lineaments than the original1 pleasing the eye1 and enrapturing the imagination3 the other is the living man1 animated by intellectual power1 rousing the deepest feelings of every heart1 and electrifying every soul as with vivid lightning4 ,the one is a picture of the passions all on fire3 the other is the real conflagration1 pouring out a volume of words that burn like liquid flames bursting from the crater of a volcano4 ,the one attracts the admiring gaze and tickles the fancy of an audience3 the other sounds an alarm that vibrates through the tingling ears to the soul1 and drives back the rushing blood upon the aching heart4 ,the one falls upon the multitude like ,april showers glittering in the sunbeams1 animating1 and bringing nature into mellow life3 the other rouses the same mass to deeds of noble daring1 and imparts to it the terrific force of an avalanche4 ,the one moves the cerebral foliage in waves of recumbent beauty like a gentle wind passing over a prairie of tall grass and flowers3 the other strikes a blow that resounds through the wilderness of mind like rolling thunder through a forest of oaks4 ,the one fails when strong commotions and angry elements agitate the public peace3 the other can ride upon the whirlwind1 direct the tornado1 and rule the storm4 99 99 99 99 99 #d4 ,aspirated orotund quality1 moderate force1 very slow movement1 very low pitch1 median stress4 ,tread softly1 bow the head1 in reverent silence bow3 ,no passing bell doth toll1 yet an immortal soul ,is passing now4 ,stranger1 however great1 with lowly reverence bow3 ,there's one in that poor shed1 one by that paltry bed1 ,greater than thou4 ,beneath that beggar's roof1 lo6 ,death doth keep his state4 ,enter1 no crowds attend2 enter1 no guards defend ,this palace-gate4 ,that pavement damp and cold no smiling courtiers tread3 ,one silent woman stands1 lifting with meagre hands ,a dying head4 ,no mingling voices sound1--an infant wail alone3 ,a sob suppressed1 again that short deep gasp1 and then ,the parting groan4 ,oh change6 oh wondrous change6 burst are the prison-bars3 ,this moment there1 so low1 so agonized2 and now ,beyond the stars6 ,oh change1 stupendous change6 there lies the soulless clod3 ,the sun eternal breaks1 the new immortal wakes1-- ,wakes with his ,god6 #e4 ,pure quality1 moderate force1 quick movement1 high pitch1 radical stress1 suggestive quality on many words4 ,the ,wind one morning sprang up from sleep1 ,saying1 ,now for a frolic1 now for a leap1 ,now for a mad-cap galloping chase3 ,i'll make a commotion in every place6 ,so it swept with a bustle right through a great town1 ,creaking the signs1 and scattering down ,shutters1 and whisking with merciless squalls ,old women's bonnets and gingerbread-stalls3 ,there never was heard a much lustier shout ,as the apples and oranges tumbled about2 ,and the urchins1 that stand with their thievish eyes ,forever on watch1 ran off each with a prize4 ,then away to the field it went blustering and humming1 ,and the cattle all wondered whatever was coming3 ,it plucked by their tails the grave matronly cows1 ,and tossed the colts' manes all about their brows2 ,till1 offended at such a familiar salute1 ,they all turned their backs1 and stood silently mute4 ,so on it went capering1 and playing its pranks2 ,whistling with reeds on the broad river's banks2 ,puffing the birds as they sat on the spray1 ,or the traveller grave on the king's highway4 ,it was not too nice to hustle the bags ,of the beggar1 and flutter his dirty rags3 ',twas so bold1 that it feared not to play its joke ,with the doctor's wig and the gentleman's cloak4 ,through the forest it roared1 and cried gayly1 ,now1 ,you sturdy old oaks1 ,i'll make you bow6 ,and it made them bow without more ado1 ,and cracked their great branches through and through4 ,then it rushed like a monster on cottage and farm1 ,striking their dwellers with sudden alarm1 ,and they ran out like bees in a midsummer swarm4 ,there were dames with their kerchiefs tied over their caps ,to see if their poultry were free from mishaps4 ,the turkeys they gobbled2 the geese screamed aloud2 ,and the hens crept to roost in a terrified crowd3 ,there was rearing of ladders1 and logs laying on1 ,where the thatch from the roof threatened soon to be gone4 ,but the wind had passed on1 and had met in a lane ,with a school-boy who panted and struggled in vain2 ,for it tossed him and twirled him1 then passed1 and he stood ,with his hat in a pool1 and his shoe in the mud4 ,,style4 ,what you have to say1 where you have to say it1 when you have to say it1 why you have to say it1 and to whom you have to say it1--on these depend how you shall say it1 or your style4 ,conversational style is as you would talk in earnest conversation with a friend2 ,narrative1 as you would tell an anecdote or story to a company of friends2 ,descriptive1 as you would describe what you had actually seen2 ,didactic1 as you would state earnestly1 decisively1 but pleasantly1 your knowledge or opinions to others2 ,public ,address1 which generally includes the ,didactic1 ,narrative1 and ,descriptive1 is spoken with design to move1 to persuade1 and instruct1 particularly the latter2 ,declamatory is ,public ,address magnified in expression1 exhibiting more emotion1 both in language1 and in quality1 and fulness of voice2 the ,emotional or ,dramatic1 in which the emotions and passions are strongly expressed4 ,in practising these different styles1 the quality1 pitch1 force1 and time must be regulated by your thought and feeling1 guided1 as in transition1 by common sense1 which will enable you to tell natural from unnatural expression4 ,practise these few exercises under each head2 but you will do better to practise pieces such as are referred to under each head in the ,reading ,club4 ,,conversational4 #a4 ,and how's my boy1 ,betty8 asked ,mrs4 ,boffin1 sitting down beside her4 ,he's bad2 he's bad6 said ,betty4 ,i begin to be afeerd he'll not be yours any more than mine4 ,all others belonging to him have gone to the ,power and the ,glory2 and ,i have a mind that they're drawing him to them1 leading him away4 ,no1 no1 no6 said ,mrs4 ,boffin4 ,i don't know why else he clinches his little hand1 as if it had hold of a finger that ,i can't see2 look at it6 said ,betty1 opening the wrappers in which the flushed child lay1 and showing his small right hand lying closed upon his breast4 ,it's always so4 ,it don't mind me4 #b4 ,helen4--,what's that you read8 ,modus4--,latin1 sweet cousin4 ,hel4--',tis a naughty tongue1 ,i fear1 and teaches men to lie4 ,modus4--,to lie6 ,hel4--,you study it4 ,you call your cousin sweet1 ,and treat her as you would a crab4 ,as sour ',twould seem you think her3 so you covet her6 ,why1 how the monster stares1 and looks about6 ,you construe ,latin1 and can't construe that6 ,modus4--,i never studied women4 ,hel4--,no1 nor men2 ,else would you better know their ways1 nor read ,in presence of a lady4 #c4 ,now1 said ,wardle1 what say you to an hour on the ice8 ,we shall have plenty of time4 ,capital6 said ,mr4 ,benjamin ,allen4 ,prime6 ejaculated ,mr4 ,bob ,sawyer4 ,you skate1 of course1 ,winkle8 said ,wardle4 ,ye--yes2 oh1 yes6 replied ,mr4 ,winkle4 ,i--,i am rather out of practice4 ,oh1 do skate1 ,mr4 ,winkle6 said ,arabella4 ,i like to see it so much6 ,oh1 it is so graceful6 said another young lady4 ,a third young lady said it was elegant2 and a fourth expressed her opinion that it was swan-like4 ,i should be very happy1 ,i'm sure1 said ,mr4 ,winkle1 reddening2 but ,i have no skates4 ,this objection was at once overruled4 ,trundle had got a couple of pair1 and the fat boy announced that there were half a dozen more down stairs2 whereat ,mr4 ,winkle expressed exquisite delight1 and looked exquisitely uncomfortable4 ,see ,reading ,club1 ,no4 #a1 p4 #ef2 ,no4 #b1 p4 #di2 ,no4 #c1 pp4 #e1 #ch2 ,no4 #d1 pp4 #id1 #fg4 ,,narrative4 #a4 ,tauler the preacher walked1 one autumn-day1 ,without the walls of ,strasburg1 by the ,rhine1 ,pondering the solemn miracle of life2 ,as one who1 wandering in a starless night1 ,feels momently the jar of unseen waves1 ,and hears the thunder of an unknown sea ,breaking along an unimagined shore4 #b4 ,the illustrious ,spinola1 upon hearing of the death of a friend1 inquired of what disease he died4 ,of having nothing to do1 said the person who mentioned it4 ,enough1 said ,spinola1 to kill a general4 ,not only the want of employment1 but the want of care1 often increases as well as brings on this disease4 #c4 ,sir ,isaac ,newton was once examining a new and very fine globe1 when a gentleman came into his study who did not believe in a ,god1 but declared the world we live in came by chance4 ,he was much pleased with the handsome globe1 and asked1 ,who made it8--,nobody1 answered ,sir ,isaac3 it happened there4 ,the gentleman looked up in amazement2 but he soon understood what it meant4 ,see ,reading ,club1 ,no4 #a1 pp4 #bc1 #gc2 ,no4 #b1 pp4 #cg1 #dd2 ,no4 #c1 pp4 #i1 #ii2 ,no4 #d1 pp4 #bf1 #di1 #hi4 ,,descriptive4 #a4 ,the morn awakes1 like brooding dove1 ,with outstretched wings of gray3 ,thin1 feathery clouds close in above1 ,and build a sober day4 ,no motion in the deeps of air1 ,no trembling in the leaves2 ,a still contentment everywhere1 ,that neither laughs nor grieves4 ,a shadowy veil of silvery sheen ,bedims the ocean's hue1 ,save where the boat has torn between ,a track of shining blue4 ,dream on1 dream on1 ,o dreamy day6 ,the very clouds are dreams3 ,that cloud is dreaming far away1 ,and is not where it seems4 #b4 ,the broad moon lingers on the summit of ,mount ,olivet2 but its beam has long left the garden of ,gethsemane1 and the tomb of ,absalom1 the waters of ,kedron1 and the dark abyss of ,jehoshaphat4 ,full falls its splendor1 however1 on the opposite city1 vivid and defined in its silver blaze4 ,a lofty wall1 with turrets and towers and frequent gates1 undulates with the unequal ground which it covers1 as it encircles the lost capital of ,jehovah4 ,it is a city of hills1 far more famous than those of ,rome2 for all ,europe has heard of ,sion and of ,calvary4 #c4 ,it was a fine autumnal day3 the sky was clear and serene1 and ,nature wore that rich and golden livery which we always associate with the idea of abundance4 ,the forests had put on their sober brown and yellow2 while some trees of the tenderer kind had been nipped by the frosts into brilliant dyes of orange1 purple1 and scarlet4 ,streaming files of wild ducks began to make their appearance high in the air2 the bark of the squirrel might be heard from the groves of beech and hickory nuts1 and the pensive whistle of the quail at intervals from the neighboring stubble-field4 ,see ,reading ,club1 ,no4 #b1 pp4 #ae1 #ci2 ,no4 #c1 pp4 #bh1 #ig2 ,no4 #d1 pp4 #ai1 #cf1 #ib4 ,,didactic4 #a4 ,to teach--what is it but to learn ,each day some lesson fair or deep1 ,the while our hearts toward others yearn1-- ,the hearts that wake toward those that sleep8 ,to learn--what is it but to teach ,by aspect1 manner1 silence1 word1 ,the while we far and farther reach ,within thy treasures1 ,o our ,lord8 ,then who but is a learner aye8 ,and who but teaches1 well or ill8 ,receiving1 giving1 day by day1-- ,so grows the tree1 so flows the rill4 #b4 ,all professions should be liberal2 and there should be less pride felt in peculiarity of employment1 and more in excellence of achievement4 ,and yet more3 in each several profession no master should be too proud to do its hardest work4 ,the painter should grind his own colors2 the architect work in the mason's yard with his men2 the master-manufacturer be himself a more skilful operative than any man in his mills2 and the distinction between one man and another be only in experience and skill1 and the authority and wealth which these must naturally and justly obtain4 #c4 ,now1 my co-mates and brothers in exile1 ,hath not old custom made this life more sweet ,than that of painted pomp8 ,are not these woods ,more free from peril than the envious court8 ,here feel we but the penalty of ,adam1 ,the seasons' difference2 as1 the icy fang ,and churlish chiding of the winter's wind1 ,which1 when it bites and blows upon my body1 ,even till ,i shrink with cold1 ,i smile1 and say1 ,this is no flattery3 these are counsellors ,that feelingly persuade me what ,i am4 ,sweet are the uses of adversity1 ,which1 like the toad1 ugly and venomous1 ,wears yet a precious jewel in his head2 ,and this our life1 exempt from public haunt1 ,finds tongues in trees1 books in the running brooks1 ,sermons in stones1 and good in every thing4 ,see ,reading ,club1 ,no4 #a1 p4 #hb2 ,no4 #b1 pp4 #hh1 #gf2 ,no4 #c1 p4 #ei4 ,,public ,,address4 #a4 ,let not1 then1 the young man sit with folded hands1 calling on ,hercules4 ,thine own arm is the demigod3 it was given thee to help thyself4 ,go forth into the world trustful1 but fearless4 ,exalt thine adopted calling or profession4 ,look on labor as honorable1 and dignify the task before thee1 whether it be in the study1 office1 counting-room1 work-shop1 or furrowed field4 ,there is an equality in all1 and the resolute will and pure heart may ennoble either4 #b4 ,while you are gazing on that sun which is plunging into the vault of the west1 another observer admires him emerging from the gilded gates of the east4 ,by what inconceivable power does that agd star1 which is sinking fatigued and burning in the shades of the evening1 re-appear at the same instant fresh and humid with the rosy dew of the morning8 ,at every hour of the day the glorious orb is at once rising1 resplendent as noonday1 and setting in the west2 or rather our senses deceive us1 and there is1 properly speaking1 no east or west1 no north or south1 in the world4 #c4 ,in all natural and spiritual transactions1 so far as they come within the sphere of human agency1 there are three distinct elements3 there is an element of endeavor1 of mystery1 and of result2 in other words1 there is something for man to do1 there is something beyond his knowledge and control1 there is something achieved by the co-operation of these two4 ,man sows the seed1 he reaps the harvest2 but between these two points occurs the middle condition of mystery4 ,he casts the seed into the ground2 he sleeps and rises night and day2 but the seed springs and grows up1 he knows not how3 yet1 when the fruit is ripe1 immediately he putteth in the sickle1 because the harvest is come4 ,that is all he knows about it4 ,there is something for him to do1 something for him to receive2 but between the doing and receiving there is a mystery4 ,see ,reading ,club1 ,no4 #a1 p4 #hc2 ,no4 #b1 pp4 #gg1 #gi2 ,no4 #c1 pp4 #gd1 #ia2 ,no4 #d1 pp4 #ce1 #ec4 ,,declamatory4 #a4 ,you speak like a boy1--like a boy who thinks the old gnarled oak can be twisted as easily as the young sapling4 ,can ,i forget that ,i have been branded as an outlaw1 stigmatized as a traitor1 a price set on my head as if ,i had been a wolf1 my family treated as the dam and cubs of the hill-fox1 whom all may torment1 vilify1 degrade1 and insult2 the very name which came to me from a long and noble line of martial ancestors denounced1 as if it were a spell to conjure up the devil with8 #b4 ,i have been accused of ambition in presenting this measure1--inordinate ambition4 ,if ,i had thought of myself only1 ,i should have never brought it forward4 ,i know well the perils to which ,i expose myself1--the risk of alienating faithful and valued friends1 with but little prospect of making new ones 7if any new ones could compensate for the loss of those we have long tried and loved71 and the honest misconception both of friends and foes4 ,ambition6--yes1 ,i have ambition2 but it is the ambition of being the humble instrument in the hands of ,providence to reconcile a divided people1 once more to revive concord and harmony in a distracted land2 the pleasing ambition of contemplating the glorious spectacle of a free1 united1 prosperous1 and fraternal people4 #c4 ,tell me1 ye who tread the sods of yon sacred height1 is ,warren dead8 ,can you not still see him1 not pale and prostrate1 the blood of his gallant heart pouring out of his ghastly wound1 but moving resplendent over the field of honor1 with the rose of heaven upon his cheek1 and the fire of liberty in his eye8 ,tell me1 ye who make your pious pilgrimage to the shades of ,vernon1 is ,washington indeed shut up in that cold and narrow house8 ,that which made these men1 and men like these1 cannot die4 ,the hand that traced the charter of ,independence is indeed motionless2 the eloquent lips that sustained it are hushed3 but the lofty spirits that conceived1 resolved1 and maintained it1 and which alone1 to such men1 make it life to live1--these cannot expire4 ,see ,reading ,club1 ,no4 #a1 pp4 #ff1 #ge2 ,no4 #c1 pp4 #ej1 #fh1 #hd2 ,no4 #d1 pp4 #dj1 #ee4 ,,dramatic ,,or ,,emotional4 #a4 ,vain pomp and glory of this world1 ,i hate ye6 ,i feel my heart new opened4 ,oh1 how wretched ,is that poor man that hangs on princes' favors6 ,there is betwixt that smile we would aspire to1 ,that sweet aspct of princes and their ruin1 ,more pangs and fears than wars or women have2 ,and1 when he falls1 he falls like ,lucifer1 ,never to hope again4 #b4 ,what would you have1 you curs6 ,that like nor peace nor war8 ,the one affrights you2 ,the other makes you proud4 ,he that trusts you1 ,where he should find you lions finds you hares2 ,where foxes1 geese4 ,you are no surer1 no1 ,than is the coal of fire upon the ice1 ,or hailstone in the sun4 #c4 ,to-morrow1 and to-morrow1 and to-morrow1 ,creeps in this petty pace from day to day1 ,to the last syllable of recorded time2 ,and all our yesterdays have lighted fools ,the way to dusty death4 ,out1 out1 brief candle6 ,life's but a walking shadow2 a poor player1 ,that struts and frets his hour upon the stage1 ,and then is heard no more3 it is a tale ,told by an idiot1 full of sound and fury1 ,signifying nothing4 ,see ,reading ,club1 ,no4 #a1 p4 #h2 ,no4 #b1 p4 #bh2 ,no4 #c1 p4 #fj2 ,no4 #d1 p4 #ad4 ,,part ,,four4 ,,hints ,,on ,,elocution4 ,sidenote3 ,practice4 ,if you have practised and studied the previous pages of this book1 you will have gained an elementary knowledge of the science of elocution4 ,carlyle says1 ,the grand result of schooling is a mind with just vision to discern1 with free force to do3 the grand school-master is ,practice4 ,to make an artist of yourself in elocution requires much practice and much patience4 ,as ,longfellow says1 ,art is long1 and time is fleeting2 and the art of elocution is no exception to that truth4 ,sidenote3 ,health4 ,you must have health1 strength1 and elasticity of body2 and1 to get and keep these1 obey the laws of life as to exercise1 rest1 pure air1 good food1 and temperance in all things4 ,avoid all stimulants1 or tobacco in any form4 ,practise any gymnastics that shall help to make you strong and sprightly1 but especially the physical gymnastics here given1 as they are designed to benefit the muscles used in speaking4 ,sidenote3 ,position4 ,when you stand to speak1 the first thing that strikes your audience is the position you assume4 ,therefore be careful to assume and keep the speaker's position until some other position is needed for expression2 and return to the speaker's position1 as the one which is an active position1 but gives the idea of repose and confidence1 without that disagreeable self-consciousness which to an audience is disgusting4 ,while you are speaking1 avoid all swaying or motion of body1 unless it means something4 ,sidenote3 ,bowing4 ,do not bow too quickly1 but do it with dignity1 and respect to your audience1 first with a general1 quick glance of the eye about you4 ,bend the body at the hip-joints2 let the back bend a little1 and the head more than the body4 ,do not bow too low1 nor be stiff in your movements4 ,sidenote3 ,holding book4 ,how to hold the book has been shown in ,part ,one2 and you will find that to be the position that strikes the audience most favorably1 and gives an impression of ease1 which goes a great way towards making the audience enjoy your reading4 ,sidenote3 ,articulation4 ,when you speak1 it is for the purpose of making yourself understood4 ,and to do this you must articulate perfectly2 that is1 give a clear and correct utterance every element in a word4 ,sidenote3 ,pronunciation4 ,you must also pronounce properly1--that is1 accent the proper syllable in a word2 and1 to find out what the proper syllable is1 refer to ,webster's or ,worcester's large ,dictionary 7,worcester being preferable71 and find out for yourself4 ,sidenote3 ,emphasis4 ,you must also give the right phrasing1 subordinating all other phrases to the principal one1 and remembering that the emphatic word of your sentence is the emphatic word of the important phrase4 ,the emphatic word is usually brought out by inflection and added force2 but it may be made emphatic by particular stress1 or a pause before it or after it1 or both before and after1 or by a change of quality4 ,your own common sense will tell you when these may be proper and effective and natural4 ,sidenote3 ,fulness and power4 ,you must also make your audience hear you2 and this requires1 not a loud1 high-pitched voice1 but--unless dramatic expression requires otherwise--your middle or conversational pitch1 with fulness of voice1 that shall give you power4 ,your own mind will regulate this for you1 if you will direct your attention to the persons in the back part of the hall1 and speak in middle pitch1 so that they may hear4 ,sidenote3 ,avoid high pitch4 ,many speakers make the mistake of using a high pitch1 and render their speech very ineffective by so doing4 ,you will call to mind the fact1 that1 when we say we cannot hear a speaker1 it is not that we do not hear the sound of his voice1 but that we cannot understand the words4 ,bearing this in mind1 you will see that perfect articulation is what is wanted1 and that fulness added to your voice in middle pitch will make the voice reach1 will require less effort1 and will produce better effect4 ,sidenote3 ,feeling4 ,having made your audience understand and hear1 you must then make them feel4 ,to do this as public reader1 actor1 clergyman1 lawyer1 teacher1 orator1 lecturer1 you must yourself feel what you have to say1 and1 forgetting every thing else in your subject1 concentrate your whole being in your utterance and action4 ,then you will be effective1 and you will carry your audience with you4 ,and you will fail in proportion as you fail to lose your own personality in your subject4 ,the heart giveth grace unto every art2 and of no art is this more true than of elocution4 ,you may have all the graces of elocution which practice will give you2 yet1 in the effect these will produce1--if the will1 acting alone1 not being guided by mind and heart1 prompts the utterance1--something will be lacking1 of which learned and unlearned alike will be conscious4 ,sidenote3 ,be natural4 ,one touch of nature makes the whole world kin1 and cultivated and uncultivated alike will feel it2 and this touch of nature you will show if you enter into what you have to say with mind1 heart1 and soul4 ,your voice will vary in all the elements of emotional expression1 and you will be natural4 ,sidenote3 ,mechanical speaking4 ,when speaking in public1 do not try to remember the first rule of elocution4 ,leave it all behind you when you come before the audience4 ,speak from your thought and feeling1 and be sure you are thoroughly familiar with what you have to say4 ,be sure you understand it yourself before you try to make others understand4 ,sidenote3 ,words without meaning4 ,you can read words1 calling them off mechanically1 or you can speak words from memory very mechanically1 and not have a clear idea of the meaning the words convey while you speak them4 ,but do not do this4 ,always think the thought1 as you read or speak1 in the same manner as you would if speaking extempore4 ,you can express your thought clearly by thinking it as you speak2 but at the same time there may be no expression of emotion4 ,sidenote3 ,thought without feeling4 ,you may have thought without feeling2 but you must impress your thought by feeling4 ,when you read1 your mind gets the thought through the words1 and from that thought comes feeling2 but1 when you speak your own thoughts1 the feeling creates the thought4 ,in reading1 you think1 and then feel2 but1 in speaking your thought1 you feel1 and then think4 ,when you read1 then1 or speak from memory1 if you will let thought create feeling before you speak1 you will avoid mechanical reading and speaking1 and be effective in conveying the thought and feeling both together4 ,sidenote3 ,feeling without thought4 ,you can convey emotion without a definite thought2 and this is as bad as either words without meaning1 or thought without feeling4 ,this arousing the feelings without guiding them by definite thought is the province of the art of music4 ,elocution is superior to music for the reason that it guides both thought and feeling1 for certainly it is better that mind and feeling should work together1 than either alone4 ,sidenote3 ,emotion in song or speech4 ,the elements of emotional expression are alike in speech and song4 ,in each you have quality1 time1 force1 and pitch4 ,the variation of these elements makes expression of feeling2 and each sound you make contains all these elements4 ,it has a certain quality2 it has more or less of force2 it is relatively high or low in pitch1 it takes a longer or shorter time4 ,sidenote3 ,variety in expression4 ,the more you vary in the elements of emotional expression1 the better the effect1 provided the variation is caused by the variation of your feeling1 and not by any artificiality1 or seeming to express what you do not feel4 ,sidenote3 ,quality4 ,force4 ,pitch4 ,time4 ,the quality of voice1 its purity or harshness1 its aspiration1 c41 will vary with the kind of feeling2 the degree of force will vary according to the intensity of feeling2 the pitch will be according to what we may call the height or depth of your feeling2 the movement1 or time1 will be according as the emotion is quick or slow4 ,after having cultivated the voice well in these elements of emotional expression1 your own common sense ought to be your best guide in the application of them to reading and speaking4 ,you1 for the time being1 should be the author of what you read4 ,put yourself in his place1 and express as you feel that he felt while writing it4 ,sidenote3 ,feeling without expression4 ,it is possible for you to feel intense emotion1 and not be capable of properly expressing it1 so as to make others feel it4 ,you may not have had training that will give you command of sound and motion1 those channels of expression through which the body is made to obey mind and soul1 and express their thought and feeling4 ,sidenote3 ,no expression without feeling4 ,it is impossible to express1 even with the best cultivation1 what1 at the moment of utterance1 you do not feel3 therefore you must sink your own personality in your subject2 and1 according to your conception1 so will you express4 ,sidenote3 ,reserve power4 ,all apparent effort must be avoided2 that is1 in the expression of the strongest passion or emotion1 you must not give the audience the slightest indication of want of power4 ,you will give that impression if you try to express more than you actually feel4 ,in emotional expression it must seem as if it overflowed because of excess1 and you could hardly control it2 but you must never lose control of it4 ,this control will give the audience the impression that you feel more than you express1 and is what is called reserved power4 ,if--your well of emotion not being overflowingly full--you use a force-pump1 or1 in other words1 your will-power1 to make it overflow1 you will fail in expression4 ,sidenote3 ,how to get reserve power4 ,how are you to get this1 you ask4 ,by study and long practice4 ,as you plainly see1 it involves a perfect command over the feelings2 and he that ruleth his own spirit is greater than he that taketh a city4 ,conquer yourself4 ,all art1 elocution included1 is but a means of expression for man's thoughts and feelings2 and1 if you have no thought or feeling to express1 art is useless to you4 ,sidenote3 ,breathing4 ,do not let your audience be reminded that you breathe at all4 ,take breath quietly through nostrils or mouth1 or both4 ,form the habit of keeping the chest1 while speaking1 active1 as recommended in all vocal exercises2 and the breath will flow in unobstructed whenever needed4 ,breathe as nearly as possible as you would if you were not speaking1 that is1 do not interfere with right action of the lungs4 ,the instant you feel a want of breath1 take it3 if you do not1 you will injure your lungs2 and what you say1 feeling that want of breath1 will lack power4 ,the more breath you have1 so that it does not feel uncomfortable and can be well controlled1 the more power you will have3 therefore practise breathing until you breathe rightly and easily4 ,sidenote3 ,throat trouble4 ,if your general health is good1 your throat will be well2 and therefore pay attention to the general health of the whole body1 and the throat will take care of itself4 ,if1 when you come before an audience1 your throat and mouth are dry1 use only clear1 cold water1 not ice-water3 that is too cold4 ,avoid candy or throat-lozenges2 for the use of either of these is worse than if you used nothing at all4 ,if you have a cold or sore throat1 you had better not use your voice2 but1 if you must use it1 keep it clear by clear water4 ,a healthy throat will not need even water3 it will moisten itself after a little use1 if at first it is dry4 ,sidenote3 ,pausing4 ,deliberate movement and frequent pausing are very expressive in some cases4 ,where it is applicable may be determined by what you have to express4 ,pausing in its appropriate place makes emphasis strong4 ,sidenote3 ,punctuation4 ,let the pause be regulated1 however1 by the feeling1 and not all by the punctuation4 ,express according to your conception of the thought4 ,punctuation may be a guide to you in obtaining the right idea2 but it is no guide to correct expression4 ,pausing1 generally1 comes naturally either before or after1 or both before and after1 the emphatic word or phrase4 ,sidenote3 ,poetry4 ,speak or read poetry with the same care and attention to phrasing that you would give to prose1 and you will avoid all drawling1 monotony1 or sing-song4 ,in order that the rhyme in poetry may be preserved1 the pronunciation of a word may be changed from common usage1 if1 by so doing1 you do not obscure the meaning2 but never sacrifice the meaning for the sake of the rhyme4 ,in good poetry1 which includes blank verse1 the metrical movement will show itself without any attempt on your part to make it prominent4 ,sidenote3 ,stage fright4 ,you may feel1 when you first come before an audience1 a shrinking1 or faintness of feeling1 such as is known to actors as stage fright4 ,it probably arises from a very sensitive1 nervous organization2 and1 other things being equal1 persons of this character make the best speakers4 ,as to the real cause of this feeling1 as ,lord ,dundreary says1 ,it's one of those things no fellah can find out4 ,but1 whatever its cause1 you can overcome it by strong will-power and self-possession2 and1 after a time1 you will become used to appearance in public1 and that will establish the confidence of habit4 ,some of the best orators and actors that ever lived have had stage fright2 and some of them1 so far as we know1 never had it4 ,so you must not flatter yourself that this is a certain indication of your power4 ,it takes much more than a tendency to stage fright to make a powerful speaker4 ,sidenote3 ,reading4 ,speaking4 ,recitation4 ,whether you are reading from a book or paper1 reciting from memory1 or speaking extempore your own thought1 you should do all as you would the latter1 so that a blind man1 who could not judge which you were doing except by the sound of your voice1 would be unable to tell4 ,in committing to memory for recitation1 you will remember more easily if you will pick out the emphatic words of the sentences in their order1 and commit them1 as they contain an outline of the succession of thought and meaning4 ,sidenote3 ,action4 ,the look upon the face1 the gestures of the arm1 the attitude of the body1 all speak the language of emotion as plainly to the eye as elocution proper does to the ear4 ,this action will be prompted by the feelings1 as the voice is2 and it will be expressive or not1 it will be appropriate or not1 it will be graceful or not1 according as you have natural or acquired ability4 ,natural ability will be much aided by a knowledge and practice of gesture as a language1 and much may be acquired by any one with practice4 ,sidenote3 ,look4 ,gesture4 ,attitude4 ,i have said nothing of action in the previous pages1 as this book treats of expression through the voice1 or elocution4 ,a few words here upon the subject will not be out of place4 ,when you read1 you should ordinarily make your voice express much1 and use gesture sparingly1 but1 if you feel prompted to make gestures1 never do so while the eye rests on the book4 ,look either at the audience1 or as may be indicated by the gesture4 ,when you recite1 or speak extempore1 you can add much to the expression by look1 gesture1 and attitude4 ,in natural expression the face will first light up1 and show feeling2 and the attitude and gesture follow more or less quickly1 according to the feeling2 and then comes speech4 ,and all these must express alike4 ,for the face to be expressionless1 or to express one thing while the speech and gesture say another thing1 is in effect ludicrous4 ,sidenote3 ,motion without meaning4 ,remember that all motions and attitudes have meaning2 and1 when no other gesture or attitude is called for to express some feeling1 stand perfectly still in the speaker's position before mentioned1 that being an active1 and at the same time a neutral position4 ,don't move1 unless you mean something by it4 ,don't sway the body1 or nod the head1 or shrug the shoulders1 or move the feet1 or make motions or gestures1 unless the proper expression call for it1 and your emotion prompts4 ,sidenote3 ,the eye4 ,the eye is particularly effective in expression1 as there the emotion first shows itself2 and by it you can get and keep the attention of your audience4 ,in reading1 keep your eye off the book as much as possible1 and on your audience4 ,in recitation or extempore speaking1 look at your audience4 ,the eye leads in gesture1 and1 in many cases1 looks in the direction of the gesture4 ,in personation of character1 as in dramatic scenes1 your eye must look at those to whom you are supposed to be speaking1 as1 in common conversation1 you usually look at the person to whom you speak4 ,never look in an undecided way1 as if you did not have a purpose in looking1 but look in the face and eyes of your audience when emotional expression does not require you to look elsewhere4 ,sidenote3 ,gesture4 ,when you don't wish to use your arm for gesture1 let it hang naturally at the side4 ,when the emotion calls for gesture1 make it with decision1 and let the gesture continue as long as you utter words explaining the meaning of the gesture4 ,gesture always comes before words1 more or less quickly1 as may be the kind of emotion4 ,usually1 if the words are quickly spoken1 the gesture will be quickly made1 and the words will be spoken almost at instant of the gesture4 ,if the words move slow1 the gesture will move slow1 and there may be a perceptible pause between the gesture and words4 ,sidenote3 ,no rules for gesture4 ,no stated rules for gesture can be given2 for they are as infinite in number and variety as the emotions they express4 ,you will find1 however1 that gesture may be regulated1 as emotional expression of voice is1 by means of your intensity of thought and feeling1 guided by common sense1 and aided by genius4 ,gesture is a science and art1 which1 as in speech and song1 has elements of emotional expression2 and these elements correspond in each4 ,you have in gesture 7as said of the others7 quality or kind of gesture1 force or intensity in gesture1 time or the degree of movement in gesture1 and pitch1 or relative height and depth2 and all these have a meaning something like the corresponding elements of song1 or speech1 or other arts4 ,long and hard study and practice will be necessary to perfection in this1 as in all arts4 ,a graceful habit of gesture1 an appropriate expression of eye and face1 united to a voice full-toned1 musical1 and varying in all shades of emotional expression1--what is there more captivating to eye and ear1 more pleasing to the senses1 more instructive to the mind1 more moving to the emotions1 if only it is1 as ,mendelssohn says of all art1 expressive of lofty thought8 ,every art can elevate itself above a mere handicraft only by being devoted to the expression of lofty thought4 ,,defects ,,of ,,speech4 ,defects of speech cannot be spoken of at great length in this book4 ,a thorough study of articulation in ,parts ,one and ,two will cure any of them where there is no defect in the mouth4 ,the letter s is more often defective than any other letter1 it being pronounced like th in thin1 or whistled4 ,in the first the tongue is too far forward3 in the last it is drawn too far back4 ,cure by imitating somebody who makes it correctly4 ,r is often defective by substituting w for it2 as1 wun for run4 ,sometimes it is defective by being made with the whole tongue1 something as y is made2 as1 yun for run3 and cure may be had by imitating the correct sound4 ,other defects of letters or elementary sounds are less common1 and need not be mentioned here4 ,sidenote3 ,too precise speech4 ,too precise speech is a defect1 and results from trying to give too much force to the consonant sounds1 and not a due proportion to the vowel sounds4 ,it sounds like affectation on the part of the speaker1 and may be corrected by giving more force to the vowels1 and particular attention to phrasing4 7,see ,articulation1 ,part ,three47 ,sidenote3 ,slovenly speech4 ,slovenly speech is a defect1 and is opposite in kind and effect from the above4 ,the consonants are not pronounced2 and1 to remedy it1 practise to give consonants more force and precision1 and pay attention to phrasing and emphasis4 ,sidenote3 ,too rapid speech4 ,speaking too rapidly is a defect1 and results from too rapid thought4 ,put a restraint upon thought1--that is1 control it1--and make the tongue move slower in consequence1 being careful to phrase and emphasize well4 ,sidenote3 ,too slow speech4 ,speaking too slowly is also a defect1 opposite in kind from rapid speech1 and is caused by the mind moving too slowly in thinking4 ,the remedy is to think faster1 and urge the tongue to move quicker4 ,sidenote3 ,stuttering4 ,when you have too slow thought and too rapid speech1 you have stuttering2 for the tongue keeps moving all the time while the thought is coming1 and it repeats syllables or words4 ,make the mind of the stutterer move faster1 and the tongue talk slower4 ,in each of these last three defects1 let the person who wants to cure it know what you wish to say before you attempt to say it4 ,sidenote3 ,stammering4 ,stammering is caused by too much effort on the part of the person to make articulate sounds1 and is usually the result of imitating some one who stammered1 or formed gradually by habit of incorrect breathing1 and from physical weakness4 ,stammerers make the attempt to speak1 and the lips or tongue or jaw become immovable1 or the words stick in their throat2 and1 because this takes place1 they make great effort to overcome it4 ,the more effort they make1 the harder it is for them2 and sometimes this leads to contortions and jerkings of body and limbs that are painful4 ,to cure this takes a longer or shorter time1 depending on the state of health1 the length of time the habit has been in forming1 the amount of jerking of limbs to which the stammerer is subject1 and the care taken by the stammerer to practise much4 ,a stammerer can be cured by teaching articulation thoroughly4 7,see ,parts ,one and ,two of this book2 also ,monroe's ,fourth ,reader47 ,show every element separately1 and the position the mouth takes to make it2 then combine into syllables1 then into words1 then into phrases4 ,show the stammerer1 that1 the less the effort made1 the easier will be the speaking4 ,impress upon the stammerer's mind1 ,make no effort to speak1 and the habit is to be overcome by long-continued practice and a thorough and complete training in articulation4 ,when reading1 be sure and read in phrases2 that is1 speak a phrase1 as a long word1 without pause4 ,stammerers1 being usually feeble in health1 should practise the physical and vocal gymnastics 7,parts ,one and ,two71 and particularly the breathing exercises4 ,when you have given the stammerer confidence1 and he or she finds that talking is as easy as walking or singing1 the cure is certain4 ,there may be times of excitability or nervousness when stammering will return2 but these times will be less and less frequent as health gets better and confidence grows1 and finally will not return4 ,remember1 stammerer1 make no effort4 ,be lazy1 and even1 at first1 slovenly in speech1 and cure is certain4 ,,the ,,end4 99 99 99 99 99 ,,mr4 ,,walter ,k4 ,,fobes1 7,graduate of ,boston ,university ,school of ,oratory17 ,,is ,,prepared ,,to ,,teach ,elocution in ,private or ,class ,lessons1 ,either at his room in ,boston1 his residence in ,north ,cambridge1 or private residences in ,boston or vicinity4 ,the private lessons are adapted to the wants of the pupil as reader or speaker1 in the pulpit1 at the bar1 on the rostrum1 on the stage1 or in the parlor4 ,the class lessons are designed to make pleasing1 intelligent readers for the social or home circle4 ,mr4 ,fobes will also accept engagements from ,,schools1 ,,academies1 ,,or ,,colleges1 for courses of lessons designed to give a practical drill in the elements of good reading and speaking4 ,he is also prepared to cure ,,stammering1 ,,stuttering1 ,,lisping1 and other defects of speech1 by a simple1 natural method1 and the use 7when required7 of ,bell's ,visible ,speech4 ,a few engagements will be accepted for ,,public ,,or ,,parlor ,,readings4 #adi ,a ,,tremont ,,street1 ,cor4 of ,west ,st41 ,,boston4 ,residence1 ,beach ,st41 ,no4 ,cambridge1 ,mass4 99 99 99 99 99 ,books that our ,teachers ought to have on hand to ,,spice ,,up with now and then4--,,st4 ,,louis ,,journal ,,of ,,education4 ,,geo4 ,m4 ,,baker',s ,,reading ,,club and ,,handy ,,speaker1 ,,being ,selections in ,prose and ,poetry1 ,,serious1 ,,humorous1 ,,pathetic1 ,,patriotic1 and ,,dramatic4 ,,fresh and ,,attractive ,,pieces for ,,school ,,speakers and ,,reading ,,circles4 ,in the words of the ,,gospel ,,banner1-- ',from grave to gay1 from lively to severe1' ,in poetry and prose a judicious mixture here2 ,beside outlandish dialects1 full of words odd and queer1 ,which stir one's sense of humor as they fall upon the ear1 ,pleasant to those who read or speak as unto those who hear4 ,published in ,parts1 each ,part containing ,fifty ,selections4 ,paper ,covers1 #ae cents each4 ,printed on ,fine ,paper1 and ,handsomely ,bound in ,cloth1 price1 #ej cents each4 ,,reading ,,club ,,no4 #a4 ,we have many readers and books that purport to furnish pieces for the use of amateur speakers and juvenile orators4 ,but the great defect in nearly all of them is1 that their selections are made from the same series of authors4 ,we are surfeited ad nauseam with ',the boy stood on the burning deck1' ',on ,linden1 when the sun was low1' ',my name is ,norval6' or1 ',my voice is still for war4' ,but in this volume1 the first of a series1 ,mr4 ,baker deviates from the beaten track1 and furnishes some fifty selections which have not been published before in any collection of readings4 ,mr4 ,baker has himself written many pieces for the amateur stage1 and achieved a reputation as a public reader1 so that he is eminently qualified by his own experience for the task of teaching others4--,phil4 ,age4 ,,reading ,,club ,,no4 #b4 ,mr4 ,baker deserves the thanks of the reading public for his indefatigable endeavors in the field of light and agreeable literature4 ,the selections are made with good taste1 and the book will be of great value for its indicated purpose4--,new ,haven ,courier4 ,in its adaptation to day schools1 seminaries1 colleges1 and home reading1 the work will be found very superior in its variety and adaptability of contents4--,dayton 7,ohio7 ,press4 ,,reading ,,club ,,no4 #c4 ,this is one of those books that our teachers ought to have at hand to spice up with now and then4 ,this is ,no4 #c of the series1 and they are all brim full of short articles1 serious1 humorous1 pathetic1 patriotic1 and dramatic4 ,send and get one1 and you will be sure to get the rest4--,st4 ,louis ,journal of ,education1 ,jan4 #ahgf4 ,the young elocutionist will find it a convenient pocket companion1 and the general reader derive much amusement at odd moments from its perusal4--,forest and ,stream1 ,n4 ,y41 ,jan4 #f1 #ahgf4 ,,reading ,,club ,,no4 #d4 7,just ,ready47 ,sold by all ,booksellers1 and sent by mail1 postpaid1 on receipt of price4 ,,lee ,,shepard1 ,publishers1 ,boston4 ,transcriber's ,notes3 ,obvious printer's errors have been repaired1 other inconsistent spellings have been kept4 ,words surrounded by are italicized4 ,words surrounded by are bold4 ,small capitals are presented as all capitals in this e-text4 ,in this e-text1 'w represents letter w with the acute accent above it as this symbol is not available in latin-#a4 ,in this e-text1 w represents letter w with the grave accent above it as this symbol is not available in latin-#a4 ,in this e-text1 vo represents letter o with the caron 7v-shaped symbol7 above it as this symbol is not available in latin-#a4