Twenty Years of Eminent Success What they say of the Lectures and Readings of PROF. ALLEN AYRAULT GRIFFITH. Our former citizen, A. A. Griffith. Esq., now of Waukesha, was invited before the Young- Men's Association, of Aurora, 111. The Aurora Guardian, thus speaks of his success : " 'I his gentleman was greeted last Friday evening by a large audience, the Congrega- tional Church being filled. Elocution was briefly alluded to at the commencement as a much neglected accomplishment, and by lack of its cultivation the speaker showed in few words what a vast amount of most rational pleasure was lost to society. Poor reading and poor speaking ought not to be endured. In this country there were no excuses for it. " Many thought that there was but little chance for him to improve, for, as he gave one and another quotation from the poets, now sadness and melancholy embodied in his tones, as the tale of woe was related, or the memory of the loved but departed touched upon — now loud and thrilling as he repeated the elo- quent words of men great in their hatred of wrong, and denunciation of it, he carried his audience with h : — " ' rilled them with adm self than of the poet: painted the glowing p a beauty his hearers Milwaukee Daily Ame, We were present at at the City Hall, or Griffith and a large cl gentlemen who have tion for the past two us much pleasure to d some of the efforts, bo mation, but our " Be we must be brief as add that in this exhib pily disappointed. only a profound eloci ' in an eminent decree those peculiar faculties which enable him to impart instructions with an ease and facility quite unusual. — Republican News, Mount Pleasant, Jan. 25, 1S60. We shall not soo-i forget the delightful en- tertainment given last evening at Plymouth Church. "The Hells " still ring sweetly, sol- emnly, and joyfully in our ears. We did not think the human voice capable of such a won- derfully varied and startling effect as this gen- tleman exhibited in his readings. lie evinced perfect appreciation of the- subject treated, ad- mirable control of a musical and well -trained voice, which, with the true grace and e'egance of his gesture, enchained the attention of his auditors as by magic povfex.-r-Daify Wisconsin, Nov. i s <>.}. We think an audit nee has never left an eli- te tainment in this city better pleased than that which went from 1'iof. Griffith's readings l.i I night. Those present were treated to an exhibition of power seldom eq filed. Prof. inner was without lault, his expression ntenance varied and adapted to the sen- timent to be- given, and his voice so cultivated and rich that his exhibitions are of the high- est order and adapted to the most cultivated taste. — Milwaukee Daily Sentinel, Nov. 1S63. Prof. A. A. Griffith, having been employed by the authorities of the College to instruct the students in elocution and oratory,^ has just completed a course of five weeks, to the en- tire satisfaction of students and faculty. He has had very large classes, and awakened the greatest enthusiasm in them all, showing him- self the perfect master of his profession. He has wonderful power to awaken interest, in- spire the timid with courage, and develop the capacities of all. He has done a work here which will be lasting in its effects. He leaves us with the esteem and warm regard of all who have come in contact with him. John M. Ellis, Prof, of Int. Phil, and Rhet., Oberlin College. Oberlin College, Aug. 23, 1S67. Prof. Griffith, the accomplished elocutionist, crave two of his select readings last evening mdist Church. The nty Teachers' Insti- nffuished educators . He entered upon estness of purpose he true artist, glow- iving his profession. is personal appear - Iculated to Avin the advance, and which s at the first glance, r and clearness of is style, inspire the irm criticism. —Chi- LIBRARY OF CONGRESS. ®N*. -@Wwl° Shelf JpjiAl W UNITED STATES OF AMERICA LS_£ O _ >er with pleasure the the elocutionist, in our citv. His success 111 awakening attention to reading and vocal culture, in our social circles and in schools, ought to encourage him in his labors, and will do much toward placing this important branch in its appropriate place in our educational system. Thorough vocal culture is beneficial to the health; it prepares our students for responsible public positions, and adds a charm to conversation. Culture is exhibited as much by the way we talk as by the wav we write, and as individuals the former accomplishment distinguishes us more while we live, and makes us more useful in society, than the latter. The' attention of the public men is being- called to this matter, and we may hope for better things. Prof. A. A. Griffith has been employed by trie School Board, and will com- mence giving the pupils of the Public Schools the benefit 61 his talents —Columbus (Ol/io) Gazette, Friday, Oct. 19, iSon. Prof. Griffith^ Readings at the church last Thursday evening gave great satisfaction to those ,vho heard them. We adjudge him the best elocutionist that has ever visited Oberlin, Murdoch not excepted. I lis wonder- ml rendering of Poe's " Bells" is only equaled bv the wo-derful composition of that famous poem.— Oberlin News, July, 1S67. Prof. Griffith is engaged in giving drill ex- ercist s to about two hundred of the College and Preparatory students. As an instructor he obeys the d vine injunction, to do with all his might whatever his hands find to do, and he is producing a revolution in the opinion amono educated men in this country in regard to this object. Prof. Griffith assumes that all may improve in manner of delivery of speech, by practice, as they may improve in rhetoric, mathematics, and "languages, and no student ought to be satisfied with present attainment in elocution and oratory any more than they are contented with their present knowledge in any other department of education. All the students taking lessons of him are encouraged, and we say, unhesitatingly, that so far as our experience extends, the Professor is at the head of his profession. The University of Chicago, in which Prof. Griffith gave several courses of lectures, was the first to recognize \\\i extraordinary gifts and culture in this branch, and at the commencement of 1S66 gave him the degree of A. M. for his distinguished services to the cause of education. Since that time the universal opinion of college men who know him has accorded him the place as an instructor and lecturer upon elocution and oratorv which Guyot and Agassiz occupy in geography and history and the natural sci- ences. — dberlin Nezvs, Aug. 1S67. Georgetown College, D. C, May 9, 1S67. Dear Sir : The admirable manner in which you have explained your principles and prac- tice of elocution merits our congratulations. All agree that your lessons were a decided success. Having been present myself at all the lectures before the students, and also par- ticipated in the special practice with the Fathers and scholastics, I most heartily con- cur in all their commendations. I must add, too, that the proficiency of the students has exceeded my expectations. 1 hope that your success will be as great elsewhere as it has been here. It is a pleasure, as I deem it a duty, to ^recommend you warmly to all who wish to obtain this elegant and necessary, but often neglected, accomplishment. James A. AVard, Prefect of Schools and Prof, of Rhetoric. Rev. Anson Smythe, State School Commis- sioner of Ohio, says: " On three occasions I have had an opportu- nity of listening to the public readings of Prof. A. A. Griffith. They were sources of the highest pleasure and satisfaction to me. I esteem Prof. Griffith as an elocutionist of rare excellence. In voice, manner, and taste he is among the best speakers I have ever heard, and with the greatest confidence I coin- mend him to the favorable consideration of my friends.'" The Ypsilanti Commercial, Michigan, quotes in the following complimentary terms: Prof. Griffith has been giving Readings in Indiana. The LaFayette Courier has the fol- lowing notice of a lecture with readings be- fore the Methodist Conference in that city: ; " It is a sign of progress when a religious association of ministers will listen to sugges- tions from a professor of elocution and rheto- ric, and extend an unanimous rising vote of thanks. The M. E. Conference, now in ses- sion at the Ninth Street Church, was favored yesterday afternoon with a most practicable and forcible lecture on elocution, with numer- ous illustrations from the Bible and hymns. Prof. Griffith has a very practical way of get- ting at the art of reading-. He divides hymn reading with reference to delivery into five classes — hymns of meditation and prayer; of exhortation and appeal ; of penitence and grief; of praise and adoration ; and hymns of varied sentiments — and applies the principles of personation and vocal quality to Bible reading, so as to develop the sense most effect- ively. Equally at home as a speaker, exhib- iting in all he says the power of elocution, we shall look no further to find the best elocu- tionist of the time. 1 ' Rev. J. A. Thome, pastor of Congrega- tional Church, and former president Board of Education, Cleveland, Ohio, says : "The undersigned takes pleasure in testify- ing to the merits of Prof. A. A. Griffith as a teacher of elocution, having had opportunities to witness his methods of instruction in the East High School of this city, and also at the Institute on University Heights. He is among the few elocutionists who do not trammel na- ture with needless rules, and make mannerists instead of good speakers.'" We have seen many teachers before classes of this branch, early and late since our school life, and have observed the gradual improve- ments which have been introduced in the bus- iness, but have, we believe, never seen what impressed us as a better instructor in the study than we saw a few days since, on a visit to the large class of young men under a svs- tem of drill by Prof. Griffith, in connection with the Columbian Law School of this city. Prof. Griffith has recently completed a course of lessons in Georgetown College, winning the very best encomiums from the professor of rhetoric, as well as from the faculty gen- erally and the whole body of students, by his admirable services. The same satisfaction is expressed by the class which he is now train- ing at the Law School, many of whom have already received one course of instruction. We have no hesitation whatever in the com- mendation of Mr. Griffith, in the most em- phatic manner, to the patronage of all who seek improvement in this branch of culture. — National Intelligencer, Washington, D. C. A large audience of our most intelligent and literary citizens assembled at Metzerotfs last Thurday evening. The novel announcement of a " Literary Reception," and the hearty praise bestowed upon Prof. Griffith, the ora- "tor and elocutionist, by all who had previously heard him, awakened expectations w*hich no ordinary artist could meet. At S o'clock the Professor appeared upon the stage. Nature is lavish with her gifts to some men, and Prof. Griffith is one of the favored few. You are impressed with this the moment he appears before you upon the platform. His voice is in • describable. In purity, variety,and compass we have never heard its equal. His vocal range is so extensive that he gives a great variety of selections, from the most laughable person- ations to the most sublime in eulogy and tragedy ; and his Literary Receptions, we are sure, will become as popular as the celebrated readings of Keen, Kemble, and Macreadv. — Washington Index. Rev. Father W. Corby, Superior No f re Dame Universitv, for himself and faculty, presented the following expressive letter : Prof. A. A. Griffith — Respected Sir : We turn aside from our custom, and present von this expression of our regard. Having been associated with you during your extended j cour e of illustrative lectures upon elocution and oratory, admired your great ability to render attractive and simple the principles which are at the foundation of vocal power in reading and speaking, witnessed your un- flagging zeal, your patience, and, above all, your royal models, as presented in your ex- temporaneous addresses and miscellaneous readings, we wou d offer our unqualified es- teem and commendation. W. Corby, Pres't. Sister M. Charles, Superior of St. Mary's Academy, Notre Dame, presented a letter as follows : Prof. Griffith has given our young ladies of the Academy a series of practical lectures on elocution for nearly a month. We take pleasure in declaring our entire satisfa tion. The e is only one voice among teachers and pupils — all unite to testify that he is complete master in his profession. As an earnest of the high esteem of his ability and gentlemanly character, we have made an arrangement with him for another series of lectures during the next school year. Sister M. Charles, Supt. St. Mary's Academy, March 27, 1867. The following is from the April number (1S68) of the American Phrenological Joitrjial, of New York: Mr. Griffith is producing a great change in the minds of professional men and teachers, with whom he comes in contact, in regard to this subject. Claiming that when elocution and rhetoric are taught in harmony, or to- gether, or when the principles pertaining to the management of the voice, and the gesture of the body and limbs which constitute ex- ternal facts of oratory, are taught in conjunc- tion with the accepted divisions of rhetoric, invention, disposition, choice of words, and memory, pertaining to the reason and under- standing, they are as certain to become a part of the personal talents of the man. This po- s tion is the correct one. Sound and sense must harmonize in speech, and the tone of voice may be taught to take on the modifica- tions of thought and feeling. Up to the present time Mr. Griffith has refused to connect himself with any institu- tion, believing that he can do more good by passing from one college to another, spending sufficient time in each to awaken a permanent interest, and for this purpose he has reduced the principles of elocution to a brief system: 1 st. Physical Culture — Position, Gesture, Breathing, Management of the vocal organ. 2d. With Voice Culture, Alphabetical Ele- ments, Groundwork, 3d, Kxprcssion, introducing New Combina- tion Kxcrcises, which are invaluable for health as well as for oratorical effect. His " Lessons in Elocution, 1 ' embodying his system, with many selections analyzed, has reached a sale of ten thousand copies in two years. Mr. Griffith is strictly temperate in his habits, using no tobacco nor alcoholic stimu- lants. He enjoys robust health; and having the firmest faith in himself and the importance of his mission, he is doing a work the influ- ence of which can not be estimated. Tho e of our citizens who heard "John MaynardyVas rendered by I'rof. Griffith, will enjoy a story we heard the other day, in which our worthy State Superintendent of Public Instruction figures conspicuously. On the last night of the session of the Teachers' Institute of Cook County, held in Chicago last spring, Prof. G. was interrupted in his lecture by a society meeting in the basement of the church in which the evening sessions of the Institute were held. At the request of Prof. Eberhart, the County Superintendent, the society ad- journed. On resuming his lecture, Prof. G. gave "John Maynard," in which he repre- sented the excited passengers crying fire ! fire! fire! from different parts of the "burning ship. Those in the secret of the Professor's wonder- ful ventriloquial powers, enjoyed the exhibi- tion to the utmost. The next day, the Superintendent, Hon. N. Bateman, was tell- ing Mr. Pickard, of Chicago, how much he had enjoyed the entertainmen . " But," said he, " how shameful that the persons outside should interrupt the exercises and annoy the Professor. I was indignant. I thought it a disgrace to the city of Chicago." " But," said Mr. P., " they did not interrupt ; I guess you were mistaken.'" " Certainly they did." said B. ; "I am sure you heard them repeat the cry of fire." Mr. Pickard informed him that he understood the cry to be part of the exercises inside the church — a touch of ven- triloquism. Mr. Bateman was inclined to doubt it, and wished next time to be informed beforehand, that he might enjoy it, and not think it some scamp outside. — Wkeaton Illi- not'san, 1S6S. We take pleasure in saying that we em- ployed Prof. A. A. Griffith, of Chicago, to do a special work in our schools in reading — and the result is most satisfactory to us. Prof. Griffith possesses, to a remarkable degree, the natural and acquired ability to teach scholars of all grades how to read — to awaken an interest in the subject with schol- ars and teachers. H- has spent four days with us, and we are confident that we could not have made a more profitable investment for the children of the citv. School Board of Battle Creek. Battle Creek, Feb. iS, 1 67. Well, in the lectures and readings of Prof. Griffith you may be sure that the laugh will come in, and in good time and quantity. The elocutionist has the magic gift of cheerful- ness, and a most keen perception of the ludi- crous ; and we never heard more genuine mirth from an audience than went up at times last evening. The variety of facial expres- sion of Prof. Griffi h is very great. If Ray- mond, Sothern, Owens, or Jefferson excel him, they must be a study for the artist ; and it is not in the management of any one feature, as the eyes or the mouth, that he excels, but in the control of all that goes to make up the face — its organs and muscles. — Galena Ga- zette, May, 1S76. Albany, N. Y., April, 1S77. I have recentlv said to a friend that I think Prof. A. A. Griffith has the most simple, com- plete, and practical system of instruction in elocution that I have ever known ; and hay- ing heard him on several public occasions, in the High School and elsewhere, recently, I do not overstate the case when I say that he presents his system with an eloquent enthusi- asm that is masterly. His voice and manner are cultivated and winning, and unexcelled in naturalness, and I think he is the most enter- taining public reader I have ever heard P. Krohn, Pastor Hudson Ave. M. E. C "lunch. NOTICES OF PROF. GRIFFITH'S BOOK. We present a few notices of the " Lessons in Elocution, 1 ' published in 1S65. In 186S Prof. Griffith prepared a " Drill Book " of Elocu- tion and Oratory, which was equally well re- ceived. In the great Chicago fire of 1S71 the plates of these books were destroyed. But immedi- ately after, the two books were combined in one — new cuts made, the whole matter re- written improved and enlarged, and many new selections added to the body of the work. It is now the best and most usable work on elocution published. Price, $1.50. Recommendations of State Superin- tendents. Prof. Griffith has made a very valuable ad- dition to the means of acquiring a knowledge of the science and art of Elocution. His definitions are clear, and his Analysis, Discussion, and Illustration of principles are strikingly apt, thorough, practical, and pro- gressive. The selections are new and fresh, drawn not from the stereotyped pages of the grand but dead and buried 'past, but from the living present, and are all aglow with the pathos and fire of recent or passing events, and es- pecially with the spirit of liberty and patriot- ism, of intensest love for the Union saved by our brave boys in blue, and deepest scorn for the heresy of Secession and the infamy of treason. I cordially commend the work to elocution- ists, and to the teachers and friends of public schools, and predict for it a wide and rapid sale. Newton Bateman, Supt. of Public Instruction of Illinois. Springfield, 111., Aug-. 8, 1S65. Prof. Griffith has given us a very useful book. Without attempting an elaborate treatise on the science of Elocution, he has exhibited the practical principles of the art in such a way that they may be applied with much ease and precision. Bhe clear and abundant illustrations in the department of gesture help to make a very difficult part of the speaker's art plain and simple. The selec- tions for practice are alike fresh and excellent. I have never before seen a collection with so few poor pieces in it. J. M. Gregory, Late Supt. of Public Instruc'n of Michigan. There are fewer poor pieces in this work than in any other with which I am acquainted, and it contains many " gems of the first water. 1 ' The tone of the selections is such as to commend them to those who believe that our public schools should teach the boys to love their country, and no other book that I know contains, within the same compass, more "thoughts that breathe and words that burn." I cheerfully and heartily commend this work to the teachers of this state. John G. McMynn, Supt. of Public Instruction of Wisconsin. Madison, Oct. 31, 1865. If the present generation fail to produce orators, it will not be for want of suitable text books. Prof. Griffith's book is modestly named " Lessons in Elocution," and we do not remember any work that treats the subject more satisfactorily than this. Its definitions and directions are plain and practicab.e; its illustrations are appropriate ; its selections are various, most of them new, and from western authors. Oran Faville, Supt. of Public Instruction of Iowa. Des Moines, Nov. 7, 1S65. Gentlemen: I have met with no other work upon the subject which seems to me so well calculated to excite the interest and en- thusiasm of the student of this beautiful and useful art. The presentation of principles is singularly terse and clear, and the selections, while they reflect the best types of our mod- ern literature, are all aglow with patriotic fervor, peculiarly adapting the work to the wants of American youth. I sincerely hope that this book will meet with that substantial appreciation to which its great merits entitle it. Wm. F. Phelps, Principal State Normal School. Winona, Minn., Nov. 20, 1S65. Kewanee, Nov. 16, 1866. After a careful examination of Prof. Grif- fith's new work on elocution, I am free to say that, in my opinion, it is better adapted as a text book for reading and elocution than any other that I have ever examined. We have introduced it into our high schools, and the longer we use it the better we like it. The exercises and definitions given are clear and concise, and the selections are new. Yours truly, S. M. Etter, Prest. 111. State Teachers' Association. At present (1S77) Supt. of Pub. Inst. 111. LESSONS IN ELOCUTION. Price, Single Copies, $1.50. Introduction, $1.00, Persons wishing to engage Prof. GRIFFITH to Lecture or give Readings will please address his Publishers, OEITTR/AL BOOK: OOISTOEE,2Sr, Oskaloosa, Iowa. CLASS-BOOK IN ORATORY. A COMPLETE DRILL BOOK FOR PRACTICE OF THE jl PRINCIPLES OF VOCAL PHYSIOLOGY, AND FOR ACQUIRING THE ART OF ELOCUTION AND ORATORY COMPRISING ALL THE ESSENTIAL ELEMENTS OF VOCAL DELIVERY AND GESTURE, WITH ALL THE LATER SELECTIONS FOR PUBLIC RECITALS, SCHOOLS, COLLEGES, THE PULPIT, PRIVATE LEARNERS, ELOCUTIONISTS AND PUBLIC READERS. By ALLEN AYRAULT GRIFFITH, M.A., LATE PROFESSOR OF ELOCUTION IN STATE NORMAL SCHOOL, MICHIGAN. NOW PRESIDENT OF FULTON COLLEGE AND GRIFFITH SCHOOL OF ORATORY, FULTON. ILLINOIS. (Cno.J£ . 1879. CENTRAL BOOK CONCERN, CINCINNATI, OHIO ; OSKALOOSA, IOWA, l88o. L, 9r rtif" >Qi „ Copyright, 1879 By CENTRAL BOOK CONCERN. INTRODUCTORY SUGGESTIONS. A Drill Book, for training in Elocution and Oratory, should be practical rather than theoretical. It should furnish concise definitions, as acknowledged by the best authorities, with brief and varied examples for individual and class practice, by which an interest in the general subject may be excited, the- taste formed, and the mind of the student led to just conclusions as to what /s right and appropriate in the delivery of extemporaneous or written dis- course. We do not intend to say that instruction or drill in elocution can create the essential powers of a speaker, but it can and will improve and di- rect those powers. From a well-devised practical system of Elocution, we look for no more: than we are every day receiving from established arts. All men speak and reason ; for these acts, as far as we know, are as natural as passion ; but the arts of Grammar, Logic, Rhetoric, and Elocution, teach us to do those things m the best manner. For, the systematizing of the principles of art signifies the teaching of the best manner of execution in said art. There is a will in man, with a system of muscles, which the common calls of exercise render obedient to that will, and which thereby produces motion in every direction not forbiden by nature. Now, there is scarcely a boy of any physical activity or enterprise, who does not, on seeing an accomplished skater, desire to imitate him ; to catch and keep the center of gravity through all the varieties of balance and motion. Yet, this will not prevent his fall, on a first trial, however natural the tie between his will and all his muscles may be. The truth is, that without long experience, he knows not what is to be done ; or, if he knows, he is unable to effect it. With some analogy to this case, there are many persons, not destitute of feeling or passion, who have a pretty fine command of the voice on the common occasions of life, but who betray a faltering tongue if they attempt to imitate the varied powers of the long-practiced speaker. When the voice is prepared by elementary training - INTRODUCTORY SUGGESTIONS. 4 the feeling which prompts the expression will find the pliant and strength- ened organs ready to furnish a satisfactory and elegant accomplishment of its designs. Passion, say a writer, knows more than art. It may know more than art ; but art sometimes knows better than passion. The display of the passions on memorized discourse is not always addressed to those who are under the sympathetic influence of those passions. When it is so, or when, at mo- ments, the speaker can raise that sympathy, all is right that passion does. When, however, we are in that state of deliberation which contemplates what passion should be, there arises such comparisons between what we feel our- selves and what we ought to feel, that we are obliged to call up, from taste, some ideal rule to settle an uncertainty of opinion. It is the opinion of many that the fear of failure, on account of the want of a knowledge of the principles of elocution, deters many speakers from a forci- ble and clear exhibition of ideas and emotions. They wisely prefer monot- ony and tameness to affectation or rant. We claim that the practice of the principles of elocution gives confidence ; and if the training is continued un- til it becomes a habit, it becomes a part of the personal talents of the man. We have presented herein the results of twelve years' experience in voice cul- ture ; and it will be found that the descriptions and directions contained in this course are so simple, and the exercises and examples so numerous, that the comprehension of the science of elocution will be comparatively easy, and the application of them in practice so clearly illustrated that there will be lit- tle difficulty in making them our own. The plan will commend itself to thoughtful students, as it begins with Vo- cal Physiology and ends with Expression, in which are applied all the ele- ments of Elocution, Articulation, Quality, Pitch, Transition, Force, Stress, Time. Emphasis and Inflection, Pauses and Personation. Some suggestions are made to clergymen, and others, who have had expe- rience in speaking, but who can not modulate the voice, or who suffer from throat affections, caused by improper vocilization or imperfect breathing. These suggestions have been of great value in like circumstances. Exercises may be selected for almost all grades of students, under-gradu- ates, graduates, and professional men. For youth especially, the practice of Gesture is commended, as an agreeable and graceful style once formed will not be forgotten. In diagrams, models, plain and practical simplicity, this book offers much INTRODUCTORY SUGGESTIONS. - that is new. For most valuable help in its preparation, acknowledgments are due Professor A. M. Bell, of London, England ; Dr. Gilbert Austin, Eng- land ; and Dr. Weaver, of this country, whose elaboration of Dr. Rush's sys- tem is most complete. In combining the "Drill Book" with the "Lessons in Elocution," many changes and improvements have been made, suggested by the experiences of the school room. New examples and selections have been introduced, and the whole book brought up to the requirements of the times. Hoping the student will take courage in this special department, and pre- pare himself for the clear and perfect expression of his thoughts, and the gems of our language, I submit this revised Hand-Book to his keeping. October, 1872, A. A. G. CONTENTS. DRILL EXERCISES. PAGE, Definitions, 13 Analysis of Principles, _ 13 Physical Culture, _ 14 How to Sit, _ _ 15 Rhetorical Gesture, _ 15 Position of the Feet, _ 16 Semi-Circle, _ _ _ 17 Relative Position of the Hands and Arms in Motion, 18 Introduction to an Audience, __ 19 Postures of the Hands and Fingers, _ _ 20 Special Directions for Breathing, .._ 23 The Organs of Speech — How to Use Them, 24 Diagram of the Organs of Speech, _ 25 Voice, _ _. _ 25 Position of Mouth (Cuts), 27 A Good Articulation, _ 28 D ifficult Combinations for Pronunciation, 30 Movements of the Speaking Voice, 32 Elements of Expression, _. 34 Qualities of Voice, 36 Orotund Quality, __. 39 Guttural Quality, _ 43 Aspirate Quality, 44 Tremor Quality, _ 45 Pitch of Speech, 48 Keys of the Speaking Voice, 49 Transition, 53 CONTENTS. j Volume and Variety, 57 Force and Stress of Voice, ... 58 Radical Stress, _ 59 Vanishing Stress, 60 Median Stress, -_ 60 Compound Stress, .__ 61 Time or Rate of Movement, _ _ __ 63 Pauses, _ 66 Inflection and Emphasis, 69 The Emphatic Tie, __ 74 The Wave of the Circumflex, 75 Personation, _ _ 77 Expression of the Passions and Emotion, 79 Object of the Study of Elocution, __ 79 Dignity, Gravity, and Solemnity, 80 Cheerfulness, Liveliness, etc., 81 Mirth, Wit, Joy, Rapture, etc., 82 Astonishment and Surprise, 84 Positiveness, Certainty, and Confidence, _ 85 Anger, Rage, Revenge, etc., _ 87 Jealousy, Envy, Indignation, etc., 88 Plaintiveness and Deep Pathos, _ 89 Humor, Impatience, Discontent, Secrecy, Mystery, etc., _ 90 Suppressed Fear, Danger, Terror, and Horror, __ 91 The Interrogation — Authoritative, Angry, etc., 92 Plaintive Interrogation, Humility, Modesty, and Shame, _ 93 SELECTIONS. Vindication of America, Everett, 94 The Temperance Drink, J. B. Gough, 95 Twenty Years Ago, 96 England Against War, H. W. Beecher, 97 The Planting of the Apple Tree W. C. Bryant, 98 The Drummer's Bride, 100 The Bachelor's Cane-Bottomed Chair, ..Thackeray, 102 The Bells, E. A. Poe, 103 3 CONTENTS. A Categorical Courtship IOJ The Claims of Italy,. 106 Drunkards not all Brutes, John B. Gough, 107 The Admission of California, W. H. Seward, 108 Poor Little Jim, Farmer, HO The Little Orator, ill The Smack in School, -_. W. P. Palmer, 112 The Lost Pantaloons, O. W. Holmes, iij Sale of Cupid,. Translated from Meleager, 114 The Elocution of the Pulpit, James Fordyce, 115 Pyramus and Thisbe, John G. Saxe, 116 The Merchant of Venice, Richard Grant White, 11^ The Alarm, George Bancroft, 120 The Lost Steamship, Fitz James O'Brien, 121 The Sky-Lark, James Hogg, 1 24 Discipline, 124 The Town of Passage, . Father Prout, 125 The " Professor of Signs,"... Arranged by C. C. Childs, 126 The Demon of the Fire, Chas. D. Gardette, 128 Love and Latin, __ 130 The Sculptor Boy, O.W.Holmes, 131 "Blessed is the Man whom Thou Chastenest" Sir Richard Grant, 132 The Frenchman and the Flea Powder — Original Version, . Prof. Raymond, 133 Seven Ages of Man, Shakspeare, 134 Opposite Examples, PL Mann, 135 The Polish Boy, Mrs. Ann S. Stevens, 136 Dare and Do,. 140 The Personal Character of Abraham Lincoln, Rev. C. H. Fowler, 141 The American Union, ..Kossuth, 143 A Very Important Proceeding — Mr. Pickwick, Charles Dickens, 144 Eternal Justice, Charles Mackay, 149 Against Curtailing the Right of Suffrage, _ Victor Hugo, 151 Ireland, T. F. Meager, 152 Home and School Influence Especially Necessary in ) -r ,, fr-ep-orv Time of War, )■>' ' s y> 53 Cordial Submission to Lawful Authority a Primary ) N Bateman , IM Attribute of Good Citizenship, ) ' " The Vagabonds, J-T. Trowbridge, 157 CONTENTS. g My Mother, Bell Bash, 159 Waiting by the Gate, W. C. Bryant, 161 Thy Will be Done,. J. G. Whittier, 162 To-day and To-morrow, Gerald Massey, 163 The Groves of Blarney, _ R. A. Millikin, 165 Our System of Instruction Should Inculcate a Love ) XT t, . c/ - of Country,. j- Newton Bateman, 166 The Courtin', James Russell Lowell, 168 Socrates Snooks, _ From Kidd's Elocution, 1 70 The Interests of Rich and Poor Demand Universal ) „. , , „■, , Education, j- Richard Edwards, 171 The Farmer's Profession, Anson S. Miller, 172 The Old Man Dreams, Oliver Wendell Holmes, 1 74 All Value Centers in Mind,. Richard Edwards, 175 My Darling's Shoes, _ 178 The Rival Orators, _ Aimwell Stories, 1 79 The Pilot, John B, Gough, 182 The Pilot, Cochran, 184 Liberty and Union, _ ..Webster, 185 Excelsior, Longfellow, 186 The Charge of the Light Brigade, _ Tennyson, 188 Hamlet's Instructions Shakspeare, 189 Definition of Eloquence, _ .Webster, 190 Ode on the Passions, William Collins, 191 The Brides of Enderby, _ _ Jean Ingelow, 193 The New Church Organ, Will M. Carleton, 197 Burial of Sir John Moore, _ Charles Wolfe, 199 The Lost Heir _ Thomas Hood, N 00 After School, _ 204 Buzfuz versus Pickwick, Charles Dickens, 205 Drifting, _ .Thomas Buchanan Read, 209 The Story of Richard Doubledick, 210 Elegy Written in a Country Churchyard, Thomas Gray, 216 Whiter than Snow, Watson, 220 Beethoven's Moonlight Sonata, 221 Maud Muller, _ John G. Whittier, 225 Orator Puff, Thomas Moore, 228 Mother and Poet, Mrs, Elizabeth Barrett Browning, 229 IO CONTENTS. Deacon Stokes, Thomas Quilp 231 The Three Sons, .__ _ Moultrie, 234 The Deserted Village,. Oliver Goldsmith, 235 Evening at the Farm, _^__ J-T. Trowbridge, 237 The Young Gray Head, _ Mrs. Southey, 238 The Boys,_ _ _. ..Oliver W. Holmes, 241 A Legend of Bregenz, Adelaide Proctor, 242 From Atalanta in Calydon, Algernon Chas. Swinburn, 244 From the Dodge Club; or, Italy in MDCCCLix, James De Mille, 245 Darius Green and his Flying Machine, J. T. Trowbridge, 254 The Inchcape Rock, , Robert Southey, 261 The Relief of Lucknow _ Robert Lowell, 263 An Order for a Picture,. Alice Cary, 265 APPENDIX. Pulpit Eloquence — Conditions of its Success, S.'N. Griffith, A.M., 26$ NEW MATTER. Voice Culture Griffith, 273 Drill Exercises, Definitions, etc _. 275 Power of Thought _. ...Whipple, 276 Combination Exercises — "A Selfish Man," " Warren's Address," " Before Vicksburg," "Henry IV on Sleep" 277, 278, 279 Climaxes from Eminent Orators 279 Rock of Ages _ 285 The Negro Preacher's Prayer Rev. Alex. Clark, 286 A Psalm of the Union Harper's Monthly, 2S7 Hand Expressions 2S9 Ride of Collins Graves J. B. O'Reilly, 291 Address to Graduates N. Bateman, 292 An Illustration — Sunrise at Sea .. Rev. P. Krohn, D.D. 294 Address to Union Soldiers Col. Ingersoll, 295 The Raven _ E. A. Poe, 297 Education Pres't Carpenter, 299 The Life Boat Anon. 300 Scott and the Veteran Bayard Ta y lor, 301 Song of the Camp ...Bayard Taylor, 302 Creeds of the Bells G/W. Bungay, 303 Poor Little Joe P. Arkwright, 304 Knights Templar Discipline — An Incident ...Anon. 305 Bugle Song, Tennyson; The Mill — A Moral. Anon. 307 How We Hunted a Mouse Joshua Jenkins, 308 "Curfew Must Not Ring" Anon. 310 How Me Saved St. Michael's M. A. P. Stansbury, 312 The Burial March of Dundee Avtoun, 314 The Face on the Stage Floyd B. Wilson, 315 Facial Expressions — Lithographs from Photographs of Prof. Grif- fith, in his Lecture on "Faces" — Seventeen Studies 321 to 336 SUGGESTIONS TO TEACHERS. With a little preparation before recitation, the principles of the "Analysis of Elocution" contained in this book may be taught to a class or school in such a manner as to awaken a genuine interest in the subject. The teacher should lead the exercise, or give the model, and the pupil should follow, with- out hesitation, as directed. For instance : if the drill is upon Position or Gesture, the teacher will place himself in such a position as to be easily seen by all who take part, (or he may place a student in this conspicuous position, who will repeat the model from the teacher'to the class,) and commence with the first position. All having taken it promptly, he will pass to the second. Great care should be taken that all have just the position required ; feet separated alike, body at rest, and the same self-control exhibited by each. The ungraceful should be corrected and encouraged. These positions should be repeated every day, in recitation. Whenever the student rises to recite, he may practice position, and, as he proceeds with the reci- tation, he may practice gesture and vocalization. Having practiced the positions, proceed to the fifteen systematic ges- tures with the right hand, as represented by the cuts ; first to the lower horizontal circle, then the middle, then to the upper, and vary the pitch of voice and force as you progress. Before repeating the sentences have the gestures given in concert, af- ter the teacher, by number, then by the use of the vowel ele- ments, and then by sentences. This exercise may be extended with profit until the school or class will repeat after the teacher a whole selection, like the " Charge of the Light Brigade," or "Excelsior," with appropriate gestures. For the purpose of cultivating an easy, graceful manner, practice walking and turn- ing until the student can come to rest in the proper position. The teacher will discourage all mannerism, affectation, or strut- ting. If these first principles are successfully introduced, the remainder of the analysis will follow naturally in the order laid down in the book — the teacher always leading the class in a ii j 2 DRILL BOOK. good model. It is not intended in the foregoing drills that the pupils will have books. They follow the teacher. For conducting a reading exercise the following plan has been very successful in our experience. Every member of the class should be made to understand the object of loud reading; that it is to convey the thoughts of an author to some person or persons who are supposed to be listening. The reader must under- stand an author himself before he can make another under- stand; hence a series of inquiries like the following, before reading, are important : What is the spirit of this selection ? Is it Plaintive, Animated, Grave, Declamatory, or Humorous ? What quality of voice predominates ? Repeat the qualities of voice with their corresponding emotions. Does this selection contain personations ? What is the author's object in this selection? Can you say anything about the author ? After the selection has been read with the teacher in concert, request the different members of the class, separately, to step out and read until called to stop ; and while one reads the others listen, with books closed, and show the hand or make some sign, as soon as there is anything that is not understood. Place the class as far from you as is possible, and require them to read standing, with the book in the left hand, the upper part of it held below the chin so as to show the countenance, and permit the free use of the eyes, which should frequently be cast from the book to those who listen. Practice holding the book in concert. ist. Book in the right hand by the side — first position. 2d. Raise it and open it to place. 3d. Pass it to left hand. 4th. Right hand drop by the side. Great precision and promptness should be insisted on in this drill. In teaching Emphatic Force, let one of the students read alone until the emphatic word or sentence is reached, and then have all the class join their voices to give the expression desired. The students will soon be able to give the required force themselves, individually, by this method. Before every reading exercise, the class should give in concert and individually, if time permits, the elements of the language, exploding the vowels to acquire variety of Force and Pitch, and facility in the inflection of voice. DRILL EXERCISES, DEFINITIONS. Elocution is the embodying form, or outward expression, of eloquence, dependent upon exterior accomplishments, and cultivation of the vocal organs. Eloquence is the soul, or animating principle, of discourse, dependent upon intellectual energy and attainments. Oratory is the complicated and vital existence, resulting from the perfect harmony and combination of elocution and eloquence. Elocution, as a science, consists of rules for the just delivery of Elo- quence. As an art, it is Oral Eloquence, or Oratory. We study elocution, to acquire every external grace and accomplishment with which the delivery of oral language should be accompanied, whether in reading, recitation, or extemporaneous discourse. The exercises in the following pages are arranged : First, with reference to " Physical Culture /' Second, " Voice Culture ;" Third, " Expression." ANALYSIS OF PRINCIPLES. Management of the Body, in Sitting, Stattding, Gesture, and Use of the Breath. The Vocal Organs — Description and Use in Articulation. Alphabetical Elements, with their Combinations. 13 H DRILL BOOK. ELEMENTS OF EXPRESSION. Quality. Force and Stress. Pauses. f Orotund. ( Pure. J Guttural. | Impure. 1 Aspirate. [ Tremor. f Radical, j Vanishing. « Median. | Compound. [ Tremor. Grammatical. Rhetorical. Pitch. Time. Diatonic Seal Chromatic Sc:; r Quick. Very Quick. Moderate. Slow. (^Very Slow. f Rising. [Wave. Transition, Personation, and Expression. APPLICATION OF PRINCIPLES AND PRACTICE. PHYSICAL CULTURE. Gymnastic and calisthenic exercises are invaluable aids to the culture and development of the bodily organs, for purposes of vocalization. The organs of the voice require vigor and pliancy of muscle, to perform their office with energy and effect. Before proceeding to the vocal gymnastics, it is indispensable, almost, to practice a series of muscular exercises, adapted to the expansion of the chest, freedom of the circulation, and general vitality of the whole system. We suggest the following : First, stand firmly upon both feet, hands upon the hips, fingers in front, head erect, so as to throw the larynx directly over the wind-pipe in a perpendicular line ; bring the arms, thus adjusted, with hands pressed firmly against the waist, back and down, six times in succession ; the shoulders will be brought down and back, head up, chest thrown forward. Keeping the hands in this position, breathe freely, filling the lungs to the utmost, emitting the breath slowly. Now bring the hands, clenched tightly, against the sides of the chest ; thrust the right fist forward — keeping the head up and chest forward, whole body firm ; bring it back, and repeat six times ; left the same ; then both fists ; then right up six times ; then left ; then both ; then right down six times ; left, the same ; APPLICATION OF PRINCIPLES AND PRACTICE. j. then both. Now clench the fists tightly, and press them under the arm-pits, throwing the chest as well forward as possible, shoulders down and back, head erect ; thrust the fists down the sides, and return, six times, with the utmost energy. Now, keeping the head, shoulders and chest still the same, extend the hands forward, palms open and facing, bring both back as far as the bones and muscles of the shoulders will admit, without bending arms at elbows. Now thrust the body to the right, knees and feet firm, and strike the left side with open palms, vigorously ; repeat, with body to the left. Now, with arms akimbo, thrust the right foot forward (kicking) with energy, six times ; left, same. Now place the clenched fists in the small of the back, with great force ; throw the whole body backwards, feet and knees firm, filling the lungs to the utmost, and uttering, as you go over, the alphabetical element, " a" then long " o," then long " e." If these movements have been made with great energy and precision, the blood is circulating, freely, and the whole body is aglow ; and you are ready now for vocal exercises. Notice that the exercises include about one hundred and ten movements, and may be made in five minutes, when understood ; and they are so varied as to call into use almost every muscle of the body. They should be repeated daily, with increasing energy. HOW TO SIT. In reading, speaking, or singing, the student should sit erect, with both feet resting upon the floor ; head up, so as to use the whole trunk in res- piration. To rise in concert and in order, a class should bring the right foot back, advance left three or four inches, and when up, rest the prin- cipal weight of the body upon the right foot. This will place the whole class in first position. RHETORICAL GESTURE. Gesture is the various positions and movements of the body, or of its different parts, employed in vocal delivery ; for it embraces that part of language which is addressed to the eye, as distinguished from the voice, which is addressed to the ear. Graceful and appropriate gesture renders intonation much more pleasing and effective. The first movements of gesture generally correspond to the natural tones of the voice, and are the voluntary visible symbols of expression, produced by the stronger passions of the mind. These are : I. The motions of the muscles of the face. 2. The change of the color of the countenance. 3. The expressiveness of the eyes. 4. Some sudden instinctive i6 DRILL BOOK. movements, extending to different parts, and sometimes to the whole of the body. These are the results of the sympathy existing between the action of the mind and the different parts of the body ; and more or less of them are always manifested by every one who, when speaking, feels what he says. From this, then, it will appear that Gesture is but an accompaniment of vocal intonation, and, for the most part, the natural result of an efficient execution of the elements of expression in a good delivery. As the feet and lower limbs seem to be the foundation, we shall begin by giving their different positions. The, student should be careful to keep the body erect. A good voice depends upon it. An instrument, to produce a good tone, must be kept in tune. The practice of Position and Gesture will prove a valuable aid in physical culture, and in acquiring a graceful address. We have but two Primary positions of the feet, in speak- ing : First — The body rests on the right foot, the left a little advanced, left knee bent. Second — The body rests on the left foot, right a little ad- vanced, right knee bent. FIRST POSITION. SECOND POSITION. We have two other posi- tions, which are called Secon- dary. They are assumed in argument, appeal, or persua- sion. The first secondary position is taken from the first primary, by advancing the un- occupied foot, and resting the body upon it, leaning forward, the right foot brought to its support. The second secondary position is the same as the first, the body resting upon the right foot. In assuming these positions, all movements should be made with the utmost simplicity, avoiding "the stage strut and parade of the dancing master." THIRD POSITION. OR FIRST SECONDARY. FOURTH POSITION, OR SECOND SECONDARY. APPLICATION OF PRINCIPLES AND PRACTICE. j ~ - ( Advance, retire, or change, with ease, except when the action demands tnergy, or marked decision. Adopt such positions only as consist of manly and simple grace, and change as the sentiment or subject changes, or as you direct attention to different parts of the audience. Avoid moving about, or ' weaving," or moving the feet or hands while speaking. All action should be graceful in mechanism, and definite in expressive- ness. Either arm may move with grace to the extent of half a circle, verti- cally or horizontally. The extremities of the semi-circle, the middle, and a point intermediate to the middle and each extreme, give five elevations arid five transverse directions — in all twenty- five points — for gesture with, either arm. thus ; Vertical Semi-circle. — z, zenith ; e, elevated ; h, horizontal ; d, down- wards ; n.r., nadir ot rest. Transverse Semi-circle. — c, across the body ; f, forwards ; q, oblique ; jf; extended ; b, backwards. Motions towards the body indicate self-esteem, egotism, or invitation ; frotti the body, command or repulsion ; expanding gestures express liberality, distribution, acquiescence, or candor ; \ contracting gestures", frugality, reserve, or collection ; rising motions express suspension, climax, or appeal ; falling motions, completion, declaration, or response ; a sudden stop expresses doubt, meditation, or listening; a sudden movement, decision or« discovery ; a broad and sweeping range of gestu*-; illustrates a general statement, or expresses boldness, freedom, and self-possession ; a limited rrfnge denotes 2 1 8 DRILL BOOK. diffidence or constraint, or illustrates a subordinate point ; rigidity of the muscles indicates firmness, strength, or effort ; laxity denotes languor Or weakness ; slotv motions are expressive of gentleness, caution, deliberation, etc. ; and quick motions, of harshness, temerity, etc. STUDIES IN GESTURE. APPLICATION OF PRINCIPLES AND PRACTICE. j .'9 INTRODUCTION TO AN AUDIENCE. The speaker should present himself to the audience with modesty, and without any show of self-consequence ; and, at the same time, he should avoid obsequiousness, and every thing opposed to true dignity and self- respect. His countenance should be composed; he should feel the importance ot the subject and of the occasion. He should not stare, nor hasten too much to begin. Be deliberate and calm, ar.d be in possession of your self -posse, sion. 20 DRILL BOOK. POSTURES OF THE HANDS AND FINGERS. The prevention of awkwardness, and a security of expressiveness and grace, may greatly depend on the natural and agreeable positions of the hands and fingers. Every one knows that we can, with the hand, call or dismiss, invite or repel, ihrea'en or supplicate, ask or deny, encourage of discourage, show joy or sorrozu, detestation or fear, admiration or respect, and how much farther their power of expression may be extended is diffi- cult to say. The palm up generally indicates elevated sentiments; palm down, the reverse. The other expressions will be governed by feeling. He may now, with a suitable deliberation, and with a step of moderate firmness and length, take his position' with his face directed to the audience. A bow, being the most marked and*, appropriate symbol of respect, should be made on the last step going to his place upon the platform. The final bow, on leaving the. stage, may be made on the left foot second, if it be suitable. In making a graceful bow, there should be a gentle bend of the whole body ; the center of gravity should be kept near the heel of the advanced foot, so as not to throw the weight of the body on the ball of it ; the eyes should not be permitted to fall below the person addressed ; and the arms should lightly move forward, and a little inward, as they naturally do when the bo iy is bent, but without any apparent voluntary effort. On raising himself into the erect position from the introductory bow, the speaker should fall back into the first position of the advanced foot. In this position he commences to speak. Mr. President, Mr. Speaker, Fellow-Citi- zens, etc. This may be called the speaking attitude of the feet and body. Students, or individuals, should her^e stop and train themselves for some time. Pupils at school, and those at' academies and colleges, too, may be trained in classes on the bow, combined with the changes of the position of the feet. As the pupil advances to aniy of the second positions, let him occa- sionally be directed to advance with\a bow, and fall back again into the speaking attitude. This may be done at first in the class, and afterward separately before the class, by fronting the class as an audience. Students should never be called upon to recite before an audience until they have been trained in the positions and gestures. The stroke of the hand terminates on the emphatic word. Be careful not to 'saw the air" with the hands; move them ., in curved lines. They should move steadily, and rest on th'eiemphatic word, returning to the side after the emotion is expressed lihat Galled 'them into action. 1 In the following sentences, the emphatic word upon which t*he hand rests is italicized. \, ; -.,<:'; i. "They grew in beauty side by side" ' 2. "They filled one home with glee." (Both hands— middle circle - t ~ palm up.) ,,,..!:. APPLICATION OF PRINCIPLES AND PRACTICE. 2 « 3. " Their graves are severed far and wide.' (Right hand on " graves' > — lower circle— rising to middle circle on " far" and " wide," and extending to the right.) 4. '"Neath mount and stream and sea." (The hand moves upward to upper circle on " mount," and falls to lower circle on " stream" and " sea.") Do not repeat the same gesture in a stanza or paragraph. In the follow- ing lines the palm of the right hand is up, on the word " reward," directed to the middle circle in front, and on the Word " spurns" it is down, and moves to the right. It is brought to the heart on the word " bosom," and middle finger is pressed inward ; on the word " high" it is directed upward to upper circle, palm up, etc., etc. Continue the gestures without duplicating eiihei to the end of the quotation : And his reward you ask ! Reward he spurns, For him the father's generous bosom burns ; For him on high the widow's prayer shall go ; For him the orphan s pearly tear-drops flow, His boon the richest e'er to mortals given — Approving conscience and the smile of Heaven. These exercises may be repeated until the awkward and ungraceful can make them elegantly. Even children in the primary school may be bene- fitted by this drill. We add other sentences for " combination exercises" in gesture, position, and voice. They may be omitted until the student has oracticed the voice exercises. The heart of the sleeper beats high in his breast, Joy quickens his pulse — all his hardships seem o'er, And a murmur of happiness steels through his rest— " O God thou hast blest me — I ask for no more." Ah ! what is that flame which now bursts on his eye? Ah ! what is that sound which now larums his ear? 'Tis the lightning's red glare, painting hell on the sky ! 'Tis the crash of the thunder, the groan of the sphere ! He springs from his hammock — he flies to the deck ; Amazement confronts him with images dire — Wild winds and mad waves drive the vessel a wreck — The masts fly in splinters — the shrouds are on fire ! 2. !f ye are beasts, then stand here like fat oxen, waiting for the butcher's knife ! If ye are men — follow me ! Strike down yon guard, gain the qiountain passes, and there do bloody work, as did your sires at old Ther' .opyloe ! 22 DRILL BOOK. Look to your hearths, my lords J For there, henceforth, shall sit, for household gods, Shapes hot from Tartarus ! — all shames and crimes ! Wan treachery, with his thirsty dagger drawn ; Suspicion, poisoning his brother's cup ; Naked rebellion, with the torch and ax. I warn you, your labor is lost ; you will not extinguish it, you will not confuse it. Far easier to drag the rock from the bottom of the sea, than the sentiment of right from the heart of the people ! 5- Quick ! man the life-boat ! see yon bark that drives before the blast ! There's a rock a-head, the night is dark, and the storm comes thick and fast. 6, They did not legislate, they did not enact, but they ordained that the people of these United States should be free. 7- Happy, proud America ! The lightnings of heaven yielded to your philosophy ; the temptations of earth could not seduce your patriotism. 8. As Caesar loved me, I weep for him ; as he was fortunate, I rejoice at it ; as he was valiant, I honor him ; but as he was ambitious, I slew him. There are tears for his love ; joy for his fortune ; honor for his valor ; and death for his ambition. 9- Flash'd all their sabres bare, Flash'd as they turned in air, Sabring the gunners there, Charging an army, while All the world wonder'd : Plung'd in the battery-smoke Right thro' the line they broke ; Cossack and Russian Reel'd from the sabre-stroke Shatter'd and sunder'd. Then they rode back, but not, Not the six hundred. Strike ! — as said the anvil to the hammer — Strike ! and never let your iron cool ! Up head, my boy ; speak bravely — never stammer, For fear the world will set you down a fool ! BREATHING EXERCISES. ^« We have no time allowed for shilly-shally, But seventy years allotted to the best : Down with the rock ; plough up the fruitful valley : Work out your purpose — leave to God the rest. You have a purpose — should have — then begin it ; An honest, manly purpose is a power, Which, if you straightway seize the minute, Will make its progress surer every hour. Build up your fortunes by it ; lay them deeply ; Make your foundations sure ; then, day by day, Rear the great walls — a fortress — never cheaply — Good purposes demand the great outlay. Strength, faith, devotion — thought and resolution ! These make your capital — these freely spend ! Once sure of your design, the execution Needs all that you can give it — to the end ! Oh ! boy — man ! what a world is in the keeping Of him who nobly aims and bravely toils ; Wake to great deeds ! we'll all have time for sleeping, When " we have shuffled off our mortal coils." BREATHING EXERCISES. Deep breathing with the lips closed, inhaling as long as possible, and exhaling slowly, is very beneficial. Having inflated the lungs to their utmost capacity, form the breath into the element of long £e; 2. G-a-g ; 3. Y-e. Aspirate, or Breathing Sounds — formed by the breath. H-e. Nasal, or Nostril Sounds— formed by the nostrils. 1, N-u-n ; 2. Si-ng. Lingual, or Tongue Sounds — formed by the tongue. I L~u-ll ; 2. j?-ap ; .3. Ya~r. Syllabic Combinations — for further practice in articulation. Difficult Combinations for Pronunciation. Give the italicized Element distinctly. and barb hand han^j barbed end ends ended handedst bind binds probe probes probed probedst pxobest orb orbed orbs band hands trouble troubles troubles t troubled tr oubledst pebble pebbles tremble trembles trembled trembledst Tib Tibs ribbed Tobe robes robed candle candles handles . handled handledst handiest fondles fondled fondledst fondles t dove doves fiame flames \T\fle trifles tr\fled txifledst txiflest frame frames blackendst hedged framed croney m laugh elb pigs laughs bulbs waggest laughed bulbed •wagged laughest hold wage -waft holds waged wafts elf Strang? waftest elfs frin^ with delft fringed bequeaM bulge breath bequeathed milks breadth beneath milked breadths this silks fifth. them clif sixth. then cliffs thousandth truckles glow mulct truck lest glows mulcts truckled glowed elm txuckledst mangles elms uncle mangiest whelmed thin/£.r mangled whelms thinkest mangledst fallen sacked haggled false packed haggles fallest blacken bragged hats blackens bxaggedst halts blackenst bxags shelves blackened hedge shelved A GOOD ARTICULATION. 31 buffs entombed ({inched clips surf tech en torn beds t evinced cMppest burgh kicked hands hangs clipped burghs •wealth sendest hanged chppedst harge healths range songs kerbs urged truth ranged strength barbed hark truth's sake wajits pluck harbest harked hum/^ry •wen test rippled haxbedst arc attempt fins rippledst hard arcs attempts x\ndest pray hards harked tombs i\\nch prayed wharfed I thrust three thousand thistles through the. thick of my thumb. Man wants but little here below, nor wa?ils that little long. Foreign travel enlarges and liberalizes the mind. They were wrenched by the hand of violence. Their singed tops, though bare, stand on the blasted heath. The strength of his nostrils is terrible. A gentle current rippled by. Do you like herbs in your broth? Thou barb'st the dart that wounds thee. Thou barUd'st the dart by which he fell. Many arks were seen floating down the stream. There barked and howled, within, unseen. The culprit was hurled from the Tarpeian rock. Words, words, words ! Are the goods wharfed? It was strongly urged upon him. Remark 'st thou that ? Mark'st thou ? He snarls, but dares not bite. Arm'd, say ye ? Arm'd my lord 7 They have arms in their hands. The delinquent was burn'd in the hand. Wellington learn d the art of war under his brother, in India. A boundless song bursts from the grove. It was union of hearts as well as hands. Earth's ample breast. He searched the house for it. It hurts me. Thou hurt st his feelings. Theophilus Thistle, the successful thistle sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles ///rough the th\ck of his thumb. Perciva/V acts and extracts. He boajfr, he twists the texts to suit the several sects. Amidst the mists, he thruj/j his fists against the posts. The swan swam over the sea ; well swum, swan. The swan swam back again ; well swum, swan. He jawed six sleek slim japlingj. Thou 7vreath'dst and .muzzle d'st the far-fetched ox. Avoid the affectations exemplified in the last column of the following table : DRILL BOOK. Incorrect or Affected Pronunciation. Correct Orthography. \ Pronunciation. card ,__' + __kard kyard cart J--.--J - ... ^..kart , .. ..kyart guard g ai 'd -,- gyai'd regard _■____; ' re-gard l ., re-gyard candle .. | .kau-dl kyan-dl garrison ^..gar-re-sun __ ■__.. gyar-resun carriage kar-ridzh guide ..■....«.. gid guise gis ... ... guile _gil_ _ beguile _. .bi-gil . sky .ski kind kind '_. mankind man kind catechise . kat-e-kis . kyar-ridzh .gyid .gyis •gy 1 ! be-gyil .skyi . kyind man-kyind .kyat-e-kyis General Rule. — Do not pervert, nor omit without good authority, the sound of any letter or syllable of a word. examples. G*t Hev K^tch Oih'er St/d'y Crit'er Good'mss Hon'ist Hun'dz^rd Sav'?j Ma7mi'ing Cli'm/t Si'lwnt Muh'duz for g^t. have. catch. gath'er. st^ad'y. creat'ure. goodWss. hon'est. hund'red. savage. morn'ing. cli'mate. si'llaee or degree of elevation which any- note or sound has in a scale of music, or in a scale of the compass of the voice. Much exercise on the following table should be taken, in order to famil- iarize the ear and the organs of the voice in this most important function. PITCH OF SPEECH. 1 TO Mi e e a a ah ah aw oh oo u-rn Mr. President. * ■ 8 Do e e a a ah ah aw oh 00 u-rn Mr. President. •is 5 Sol e e a a ah ah aw oh oo u-rn Mr. President. 3 Mi e e a a ah ah aw oh oo u-rn Mr. President. $ i Do e e a a ah ah aw oh oo u-rn Mr. President. The following diagram will represent to the eye an important vocal prac- tice. Produce the full vowel elements with the upward and downward movements of the speaking voice as indicated by the figures. 2nd. 3rd. 4th. 5 th. 6th. 7th. 8th. p^?mWffl -H- The speaking voice, in good elocution, seldom rises higher than a sixth above the lowest note of its compass. Supposing the lowest note which can be made with a full intonation to be F, the following scheme will show the relative pitch of keys, adapted to the expression of different kinds of senti- ments. QUALITIES OF VOICE. KEYS OF THE SPEAKING VOICE. 49 V ! ■*> ■5 IO -- A Mi .. $ 9 -- G Re -- — 8 F Do 7 -- E Si 6 D I, § 5 -- C Sol ^ A £ i 4 3 - Fa Mi -- « * 2 -- G Re I F Do Vociferation -J Very spirited declamation Spirited declamation A ni mated discourse Ordinary discourse Moderate conversation Dignified narrative Solemn or sublime description Young men ! ahoy ! ! Wherefore do you droop, Three millions of people, etc. Gentlemen, I address the men who govern us, — Quick! man the life-boat, — When public bodies are to be ad- dressed, — I remember once riding from Buffalo to Nigara Falls, — Obedience is the law of God's uni- verse, — Hark ! the deep voices replying, SWEAR, OH ! SWEAR — Pitch is produced by a more or less forcible expulsion of air through the glottis, aided by the contraction or dilatation of its diameter, by the ele- vation or depression of the larynx, and by the increased ur diminished size or capacity of the fauces or throat. > Gravity of sounds, or a grave sound, depends on the degree of depression of the larynx, and the degree of dilatation of the glottis and fauces. Acute- ness of sounds, or an acute sound, is dependent on the degree of elevation of the larynx and the degree of contraction of the glottis and fauces. Thus. Pitch is the result of the combined action or condition of the Larynx, Glottis, and Fauces. Hence, also, grave sounds appear to come from the chest, arising from the depression of the larynx — and acute ones, from the head, arising from the elevated position of the larynx. EXAMPLES IN PITCH. Quotations, from which the noted lines above are taken, are presented first as a guide to the student. (a) Ye freemen, how long will ye stifle The vengeance that justice inspires? With treason how long will ye trifle, And shame the proud name of your sires? Out, out with the sword and the rifle, In defence of your homes and your fires. The flag of the old Revolution, Swear firmly to serve and uphold, That no treasonous breath ol pollution, Shall tarnish one star of its fold. Swear ! (l>) (a) Begin on third note. (b) Orotund. Eighth note of Pitch. - Q DRILL BOOK. (c) And hark, the deep voices replying From the graves were your fathers are lying: "Swear, oh, Swear!" (c) Orotund. First note. Begin on second note, and increase. 2. Obedience is the law of God's universe ; the inexorable decree of his providence. And evermore in, the background of his love and mercy to the docile and penitent, hangs the cloud of destruction to the incorrigibly guilty. Retribution waits upon invitation. Behind all Jehovah's dealings with angels, men and devils, there lingers an immutable, inexorable, eternal MUST, (a) Obey and live, (b) refuse and perish, is the epitome of God's natural and spiritual economy. It rules in the moral and material worlds, in ^he destinies of individuals, of nations, and of the race. (a) Fifth 'note. (b) Second note. (a) I remember once riding from Buffalo to Niagara Falls, and said to a gentleman: (/>) "What river is that, sir?" (c) " That," said he, " is the Niagara River." (d) " Well, it is a beautiful stream," said I ; " bright, and fair, and, glassy. How far off are the rapids ?" " Only a mile or two," was the reply. " Is it possible that, only a mile from us, we shall find the water in the turbulence which it must show when near the Falls ?" " You will find it so, sir." (e) Arid so I found it ; and the first sight of Niagara, I shall never forget. Now, launch your bark on that Niagara Rive;-. It is bright, smooth, beautiful, and glassy. There is a ripple at the bow ; the silver wake you leave behind adds to your enjoyment. Down the stream you glide — oars, sails, and helm in proper trim — and you set out on your pleasure excursion. Suddenly some one cries out from the bank, (/) " Young men, ahoy !" "What is it?" " The rapids are below you !" " Ha ! ha ! we have heard of the rapids, but we are not such fools as to get there. If we go too fast, then we shall up with the helm, and steer to the shore ; we will set the mast in the socket, hoist the sail, and speed to the land ! Then on, boys ! don't be alarmed — there is no danger!" {g) "Young men, ahoy there!" " What is it?" " The rapids are below you !" (a) Third note. (6) Fifth note. (c) Third note. (d) Fourth note. (/) Tenth note — with much feeling. Increase on the narrative preceding, so thai the change shall not be too abrupt. (g) Same as above. • The numbers in the quotations following refer to the numbers in the key cf the speaking voice. QUALITIES OF VOICE. - j I profess, sir, in my career hitherto, to have kept steadily in view the prosperity and honor of the whole country, and the preservation of cur federal union. It is to that union we owe our safety at home, and our con- sideration and dignity abroad. It is to that union that we are chiefly in- debted for whatever makes us most proud of our country. That union we reached only by the discipline of our virtues, in the severe school of adver- sity. It had its origin in the necessities of disordered finance, prostrate commerce, and ruined credit. Under its benign influences, these great in- terests immediately awoke, as from the dead, and sprang forth with newness of life. Every year of its duration has teemed with fresh proofs of its util- ity and its blessings ; and although our teritory has stretched out wider and wider, and our population spread farther and farther, they have not outrun, its protection or its benefits. It has been to us all a copious fountain of. national, social, and personal happiness. 5- Gentlemen : — I address the men who govern us, and say to them, Go on ; cut off three millions of voters ; cut off eight out of nine ; and the re- sult will be the same to you, if it be not more decisive, (a) What you do not cut off is your own fault ; the absurdity of your policy of compression,, your fatal incapacity, your ignorance of the present epoch, the antipathy you feel for it, and that it feels for you ; what you will not cut off is the times which are advancing, the hour now striking, the ascending movement of, ideas, the gulf opening broader and deeper between yourself and the age, between the young generation and you, between the spirit of liberty and. you, between the spirit of philosophy and you. (a) Increase to the end. 6. But wherefore do you droop? why look you sad? Be great in act, as you have been in thought ; Let not the world see fear and sad distrust Govern the motion of a kingly eje ! Be stirring as the time ; be fire with fire ; Threaten the threatener, and outface the brow Of bragging horror : so shall inferior eyes. That borrow their behavior from the great, Grow great by your example ; and put on The dauntless spirit of resolution. Away ! and glister like the god of war ! GENERAL EXAMPLES IN PITCH. We multiply examples in pitch, as transition and modulation depend upon it to a great extent, and it is invaluable for voice culture. Each ex- ample should be dwelt upon until, without thought of the text, cither the words or the meaning, all the energy may be given to the utterance. C 2 DRILL BOOK. LOW — OROTUND. But ye — ye are changed since ye met me last ! There is something bright from your features passed ! There is that come over your brow and eye, which speaks of a world where the flowers must die ! Ye smile ; but your smile hath a dimness yet ; — oh, what have ye looked on since last we met ? HIGH — PURE. Away from the dwellings of care-worn men the waters are sparkling in grove and glen ! Away from the chamber and sullen hearth the young leaves are dancing in breezy mirth ! Their light stems thrill to the wild-wood strains, and youth is abroad in my green domains ! 3- VERY LOW — OROTUND AND GUTTURAL. How frightful the grave ! how deserted and drear ' with the howls of the storm-wind, the creaks of the bier, and the white bones all clattering to- gether ! 4- MIDDLE PITCH — PURE. How peaceful the grave — its quiet, how deep ! Its zephyrs breathe calmly, and soft is its sleep, and flowerets perfume it with ether ! VERY HIGH — OROTUND. Lo ! the mighty sun looks forth ! Arm ! thou leader of the north ' Lo ! the mists of twilight fly ! We must vanish — thou must die ! By the sword and by the spear — by the hand that knows not fear — Sea-king ! nobly shalt thou fall ! There is joy in Odin's hall ! 6. VARIED PITCH. (mid.) Borne by the winds, the vessel flies up to the thundering cloud. Now, tottering low, the spray-winged seas conceal the top-most shroud. {high) " Pilot, the waves break o'er us fast ! Vainly our bark has striven !" (loiv) * Stranger, the Lord can. rule the blast — Go, put thy trust in Heaven !" 7- OROTUND — HIGH PITCH — SHOUTING. Fight, gentlemen of England ! fight, bold yoemen ! Draw, archers, draw your arrows to the head ! Spur your proud horses hard, and ride in blood ' Amaze the welkin with your broken staves ! QUALITIES OF VOICE. A thousand hearts are great within my bosom ! Advance our standards, set upon our foes ! Our ancient word of courage — fair Saint George- Inspire us with the spleen of fiery dragons ! Upon them ! Victory sits on our helms ! VARIED PITCH. To the deep, down, To the deep, down. Through the shades of sleep ; Through the cloudy strife Of death and of life ; Through the veil and the bar Of things that seem and are ; Even to the steps of the remotest throne, Down ! down ! down ! 53 TRANSITION. We follow the exercises in pitch with prepared exercises in transition. In the practice of our profession, perhaps no ques- tion has been more frequently asked, by clergymen especially, than this : " How can I modulate and change my voice ?" " I am monotonous," etc. We commend the following suggestions and practice to such : There is a medium pitch of voice, differing in different individuals, from which ascent and descent, through its whole compass, are easy and natural. This is the natural pitch. It is the pitch most frequently heard in conversation. It is that note which predominates in good reading and speaking, and is always in accordance with the sentiment. Some speakers, almost immediately after commencing their discourse, run up to the top of the voice, and continue that pitch through the longest portion of an address, thereby pro- ducing a continuous elevated monotony. This is tiresome and offensive in the highest degree. This high pitch is commonly united with great loudness, with an entire defect of cadence. - . DRILL BOOK. , which aggravate the evil. Others, again, very soon fall to the lowest pitch, and are unable to rise again. They can not make a cadence, because they can not descend below the pitch they have assumed. They can not speak with force, because if the voice descends below a certain point, it ceases to be able to employ force, and finally becomes inaudible. In order, there- fore, to maintain fullness and strength of tone, we must set out with about the fourth degree from the lowest note, from which the voice can be easily managed, both in its employment of force and modula- tion. Again, let the student accustom himself, by frequent practice, to rise and fall upon a sentence or sentences selected for the purpose, through the whole compass of the voice. Such a practice was common with ancient orators, both Roman and Grecian, and will be the most effectual method, after the ele- ments of expression are at complete command, of removing the blemishes above described, by giving a ready command over the speaking scale. The sentence below may be taken for exercise, which should be read according to the different notations exhibited by the numerals at the beginning of the lines and members of sen- tences. 1 Though you untie the winds 2 and let them fight Against the 3 churches ; 4 though the yesty waves 5 Confound and swallow navigation up ; 6 Though bladed corn be lodged, and trees blown 8 down, 7 Though castles topple on their wardenV heads, 6 And nature's germins tumble Altogether, 4 Even till destruction 3 sickens? 2 Answer me. We repeat the prepared sentence with the inflections, and the figures de- noting the pitch : 4 The moon herself is lost in heav' v n ; 6 but thou art for ever the same', K rejoic x ing in the brightness of thy course'. 2 When the world is dark with tempests', "Kvhen thunder rolls\ and lightning flies\ 6 thou lookVt in thy beauty from the clouds\ 8 and laugh'st at the storm\ 4 But to Oss v ian thou look'sf in vain\ Practice on the following with the notes changed. Increase in pitch : 'Though you untie the winds 2 and let them fight 3 Against the churches ; 4 though the yesty waves 4 Confound and swallow navigation 5 up ; 6 Though bladed corn be lodged and trees blown down ; TRANSITION. re 6 Though castles topple on their wardens' heads, 7 And nature's germins tumble altogether, s Even till destruction sicken* ? 9 Answer me. 5 Sir, we are not weak, if we make a proper use ot those means which the God of nature hath placed in our power. * Three millions of people, b armed in the holy cause of liberty, 5 and in such a country as that which we possess, *are invincible by any force which our enemy can send against us. 5 Besides sir, we shall not fight our battles alone ; *there is a jusc God who presides over the destinies of nations ; 4 and who will raise up friends to fight our battles for us. 5 The battle, sir, is not to the strong. , GENERAL DIRECTIONS. Modulations or transitions of the voice should be uniformly made at those parts of a discourse where the speaker enters on a new train of thought, or where the sentiment takes a different turn. These parts are generally divided, in written composi- tion, by paragraphs ; and these are often entirely disregarded by many. Nothing relieves the ear more agreeably than a well regulated tran- sition. It should be effected temperately ; but whenever a speaker or reader enters on a new train of thought, notice thereof should be given to the ear, by the following means, differently modi- fied, according to existing circumstances : By a cha?ige in pitch, or by an alteration in ti?ne, as to quickness or slowness, or by a change in force, or by the use of the monotone, for a short space, on serious passages, which often has a very strik- ing effect. All these means should be at the command of the speaker and reader, and one or more of them should be employed in the pronunciation of the first few sentences at every paragraph ; after which the voice will naturally move in a freer expansion of a more animated delivery. Clergymen and others will be able to change their manner of speaking, from a lifeless to an animated style by the above. FURTHER EXAMPLES IN TRANSITION. [This selection demands the entire range of the speaking voice, in pitch— all qualities, and varied force.] 1 Hark ! the alarm-bell, 'mid the wintry storm ! 5 Hear the loud shout ! the rattling engines swarm. 56 DRILL BOOK. Hear that distracted mother's cry to save Her darling infant from a threatened grave ! That babe who lies in sleep's light pinions bound, And dreams of heaven, while hell is raging round ! :5 Forth springs the Fireman — stay ! nor tempt thy fate !- He hears not — heeds not, — nay, it is too late . 6 See how the timbers crash beneath his feet ! Oh, which way now is left for his retreat ? The roaring flames already bar his way, Like ravenous demons raging for their prey ! He laughs at danger, — pauses not for rest, Till the sweet charge is lolded to his breast. 5 Now, quick, brave youth, retrace your path ; — but, lo ! A fiery gulf yawns fearfully below ! One desperate leap ! — 9 lost ! 'lost ! — the flames arise And paint their triumph on the o'erarching skies ! Not lost ! again his tottering form appears * The applauding shouts of rapturous friends he hears? The big drops from his manly forehead roll, And deep emotions thrill his generous soul. But struggling nature now reluctant yields ;* Down drops the arm the infant's face that shields, To bear the precious burthen all too weak r When, hark ! — the mother's agonizing shriek ! Once more he's roused, — his eye no longer swims, And tenfold strength reanimates his limbs ; He nerves his faltering frame for one last, bound, — 6 "Your child !" he cries, and sinks upon the ground ! 4 And his reward you ask ; — reward he spurns ; For him the father's generous bosom burns, — For him on high the widow's prayer shall go,— For him the orphan's pearly tear-drop flow. His boon, — the richest e'er to mortals given, — Approving conscience, and the smile of Heaven ! OROTUND — HIGH PITCH. 8 Rouse, ye Romans ! — Rouse, ye slaves ! Have ye brave sons ? Look in the next fierce brawl To see them die ! Have ye fair daughters ? Look To see them live, torn from your arms, distained, Dishonored ! — and if ye dare call for justice, Be answered by the lash ! 5 Yet, this is Rome, That sat on her seven hills, and from her throne Of beauty, ruled the world ! Yet, we are Romans ! Why, in that elder day, to be a Roman Was greater than a king ! — And once again — • 10 Hear me, ye walls that echoed to the tread Of either Brutus ! — once again, I swear The Eternal City shall be free ! * Rundown the scale on this line, from 6 to i. VOLUME AND VARIETY. 3- HIGH PITCH — SHOUTING. Hark ! The bell ! the bell !— The knell of tyranny ! the mighty voice That, to the city and the plain, to earth And listening heaven, proclaims the glorious tale Of Rome re-born, and freedom ! 57 VOLUME AND VARIETY Of Voice, in the different, degrees of pitch in transition, may be secured by practicing the Diatonic Scale, in which the order of succession is by skips of tones and semi-tones. The Chromatic Scales is used in elocution, for expressions of plaintiveness. The skips are semi-tones only. Diatonic Scale. Chromatic Scale. scale the all thro' up rise Now Now we fall down thro' all the scale up Now Nc fall down Do Sol Mi Do -C- -B- -Af -A- - G l -G- - F l -F- -E- .D| -D- - c § -C-- -C- -B- -A- -G- G b -F- -E. -D- DJ, -C- That the student avoid the habit of "sing-song," the scale may be spoken, instead of sung; as in the sentence — Roll on, thou deep and dark blue ocean ! 58 DRILL BOOK. FORCE AND STRESS OF VOICE. Force is loudness and strength of tone. The degrees may be expressed by the terms loud and soft, strong and weak, forcible and feeble. For practice of Force, select a sentence, and utter it, without reference to the sense, in a loud tone, then soft, then strong, then weak, etc. Example — Hail ! holy light / Very particular attention should be given to the subject of Force, since that expression, which is so very important in elocution, is almost altogether dependent on some one or other modification of this attribute of the voice. It may truly be considered the light and shade of a proper intonation. Loud and soft are frequently united with high and low ; but they are not necessarily connected, though they very frequently are. Yet a sound may be loud and low, as well as loud and high ; and it may be soft and high, as well as soft and low. The degrees of Force may be represented in the following notation. The upper line gives the notes of song — the lower, the notes of speech: DEGREES OF FORCE OR STRESS. I23456789 1 &-® .1 L -^h#- i -0-^ i -^-^J ppp pp p mp m mf f ff fff All the different modifications of Force should be applied on the above table, and this should be a very frequent exercise, until the different DEGREES of force can be given on every modification of stress. Force is loudness and strength of tone, applied in a general manner; and Stress is the application of Force, at the beginning, middle, or ending of the tone, or at the beginning and ending. As used by Dr. Rush, Stress is the manner of rendering Force perceptible or impressive in single sounds. The classification of the forms of Stress is as follows : 1st Radical Stress, or that in which the force of utterance is usually more or less " explosive," and falls on the initial, or first part of a sound. 2nd. Median Stress, that in which the force is expulsive or effusive, and swells out, whether slowly or rapidly, at the middle of a sound. 3rd. Vanishing Stress, or that which withholds the expulsive or explosive force, till the " vanish," or last moment of the sound. FORCE AND STRESS OF VOICE. _ 4th. Compound Stress, or that in which the voice, with more or less of ex- plosive force, touches forcefully and distinctly on both the initial and the final points of a sound, but passes slightly and almost imperceptibly over the middle part. These forms of Stress may be represented to the eye by the following diagram : Radical Stress. Median Stress. Vanishing Stress. Compound Stress. h» EXAMPLES FOR PRACTICE. OUT with you RADICAL STRESS. and he went out. Note. — Apply the greatest force to the word " out, tence, and you have the effect of Radical Stress. at the beginning of the above sen. Whence and what art thou, execrable shape ? And darest, though grim and terrible, advance Thy /wz'j-created front athwart my way To yonder gates ? And reckon' st thou thyself with spirits of Heaven, Hell-doomed, and breathest defiance here, and scorn Where I reign king, and, to enrage thee more, Thy king and Lord? Back to thy/wwishment, False fugitive ! and, to thy speed add wings y Lest with a whip of scorpions I pursue Thy lingering ; or, with one stroke of this dart, Strange horror seize thee, and pangs unfelt before! The universal cry is — Let us march against Philip, let us fght for our //Gerties, let us conquer or die ! 4- MIXTURE OF RADICAL, VANISHING, AND COMPOUND STRESS. The games a foot ! Follow your spirit, and upon this charge, Cry God for Harry, England, and Saint George/ NoT«i. - Vanishing on "foot;" Radical on '"Follow;" Compound on u this charge , ind all »7f applied on the last line. £ DRILL BOOK. VANISHING STRESS /, an itching palm? You know that you are Brutus that speaks this, Or, by the gods, this speech were else your last. Must /budge? Must /observe you? Must / stand and crouch Under your testy /tumor? O ye gods! ye gjds ! must I endure all this? Must /give way and room to your rash choler? Shall / be frighted when a madman stares? Thou slave ! thou wretch ! thou coward ! Thou little valiant, great in villainy ! Thou ever strong upon the strongest side f Thou Fortune's champion, thou dost never fight But when her humorous ladyship is by To teach thee safety ! We've sworn, by our country's assaulters, By the virgins they've dragged from our altars, By our massacred patriots, our children in chains, By our heroes of old, and their blood in our veins, That living, we will be victorious, Or that dying, our deaths shall be glorious. MEDIAN STRESS. Smoothness and dignity are the characteristics of this kind of stress. It gives emphasis without sharpness or violence. EXAMPLES. H'gh on a throne of royal fame, which far Owl-shines the wealth of cV-mus and of Ind. 2. Roll on, thou dark and deep blue ocean, roll 3- We praise thee, O God, we acknowledge thee to be the Lord. 4- Father ' Thy hand Hath reared these venerable columns ; Thou Didst weave this verdant roof; Thou didst look down FORCE AND STRESS OF VOICE. z. Upon the naked earth ; and, forthwith, rose All these lair ranks of trees. They in thy sun Budded, and shook their green leaves in thy breeze, And shot towards heaven. The century-living crow, Whose birth was in their tops, grew old and died Among their branches, till, at last, they stood, As now they stand, massy, and tall, and dark, — Fit shrine for humble worshiper to hold Communion with his Maker ! How are the mighty fallen ! Saul and Jonathan were lovely and pleas- ant in their lives ; and in their death they were not divided ; they were swifter than eagles, they were stronger than lions. Ye daughters of Israel, weep over Saul, who clothed you in scarlet, with other delights ; who put on ornaments of gold upon your apparel ! How are the mighty fallen in the midst of battle ! O Jonathan ! thou wast slain in thy high places ! How are the mighty fallen, and the weapons ot war perished' ! Oh ! sing unto the Lord a new song ; for he hath done marvelous things : his right hand and his holy arm hath gotten him the victory. Make a joy- ful noise unto the Lord, all the earth : make a loud noise, and rejoice, and sing praise. Sing unto the Lord with the harp ; with the harp, and the voice of a psalm. COMPOUND STRESS. This is the natural mode of '• expression" in the utterance of surprise, and sometimes, though less frequently, of other emotions, as contempt and mockery, sarcasm and railery. In the instinctive uses of the voice, this function seems specially designed to give point and pungency to the M radical" and "vanish," or opening and closing portions of sounds which occupy a large space of time, and traverse a wide interval of the " scale." The " explosive" force at the commence- ment of such sounds, and the partial repetition of " explosive" utterance at their termination, seems to mark distinctly to the ear the space which they occupy, and thus intimate their significant value in feeling. I. Extreme Surprise. Gone to be married ! Gone to swear a peace ! False blood to false blood joined ! Gone to be friends ! Shall Lewis have Blanche, and Blanche these provinces ? It is not so ; thou hast misspoke, misheard, — Be well advised, tell o'er thy tale again : It can not lie ; — thou dost but say 't is so. 6>> DRILL BOOK. 2. Surprise, Perplexity, and Contempt. Servant. Where dwellest thou? Coriolanus. Under the canopy. Serv. Under the canopy ! Cor. Ay ! Serv. Where's that? Cor. V the city of kites and crows. Serv. I' the city of kites and crows! — What an ass it is! — Then thou dwellest with daws, too? Cor. No ; I seiwe not thy master. Smile on my lords : I scorn to count what feelings, withered hopes, Strong provocations, — bitter, burning wrongs, I have within my heart's hot cells shut up. To leave you in your lazy dignities. But here I stand and scoff you : — here I fling JJatred and full de/fance in your face. I know thee not, nor ever saw till now Sight more detestable than him and thee. 4- Whence these chains? Whence the vile death, which I may meet this moment? Whence this dishonor, but from thee, thou false one ? There is no great difference between Thorough and Compound Stress, so we do not give it prominence. When the Compound Stress is applied on short quality, it resembles very much the Radical, if indeed it does not con- stitute it. When an effort is made to apply it on short quantity it becomes unavoid- ably Explosive Stress. It does seem that the Median, Vanishing, and Com- pound possess similar expressive powers ; but the Vanishing has it a degree or two stronger than the Median, and the Compound a degree or two stronger than the Vanishing, and the Thorough a degree or two stronger than the Compound, rising regularly in intensity in the order in which they are here named. The following may serve to illustrate this mode of stress: This knows my punisher ; therefore as far From granting he, as I from ^ r ging peace. Your Consul's merciful. For this no thanks. He dares not touch a hair of Cataline. 63 TIME, OR RATE OF MOVEMENT. 3- Bidding me depend Upon thy stars, thy fortune, and thy strength? And dost thou now fall over to my foes? Thou wear'st a lion's hide. Doff it, for shame, And hang a calf's skin on those recreant limbs. Tremor Stress is referred to by some authors, but as it is applicable only where Tremor quality of voice is used, we do not see the necessity of mak- ing it a special subject of practice, except under Tremor quality. For review, repeat the element long " o" and long " e" several times, with increasing force with each stress. TIME, OR RATE OF MOVEMENT. In Elocution, Time is the measure or duration of sound heard in speech. It is long or short, slow or quick, rapid or moderate. By long quantity we mean a slow measured fullness of the voice, to express smoothness, and dig- nity of feeling. Time and Stress, properly combined and marked, possess two essential elementary conditions of aggreeable discourse, upon which other excellences may be engrafted. If either be feebly marked, other beauties will not re- deem it. A well-marked stress, and a graceful extension of time, are essen- cial to agreeable speech. They give brilliancy and smoothness. All subjects of a serious, deliberate, and dignified character, require a great extension of syllabic quantity. Long quantity is used for Grandeur and Solemnity of description, Reverential Awe, Earnest Prayer, Veneration, Solemn Denunciation, Threatening and Deep Pathos, Long quantity is generally executed by the Median Stress. {Give long qua)itity on the Italic words) I. Nine times the space that measures day and night To mortal men, he with his horrid crew Lay vanquished. Join voices all ye living souls. Ye birds That singing, up to heaven's gate ascend, Bear on your wings, and in your notes His praise. Before the sun, before the hcavns Thou wert. 6 4 DRILL BOOK. 4- We have errd and strayed from thy ways, like lost sheep. We have done those things which we ought not to have done, and we nave left un- done those things which we ought to have done, and there is no health in us. But thou, Lord! have mercy upon us miserable offenders. Spare thou those, God, who confess their faults. Restore thou those who are penitent, according to thy promises declared unto mankind in Christ ym the ground he sprang, and gazed but who could paint that tjazc ? - Th?y hushed their very hearts- that s?w its horror and amaze ! 68 DRILL BOOK. Who's here so base that would be a bondman?- If any, speak; -for him have I offended. — Who's here so rude, that would not be a Roman ?- If any, speak ;- for him have I offended. Who's here so vile, that will not love his country?- If any, speak ;-for him have I offended. 1 pause for a reply. 5- O thou Eternal One !- whose presence bright All space doth occupy,- all motion guide ! Unchanged- through time's all- devastating flight ! Thou only God ! - There is no God beside ! Being above all beings !- Mighty One, Whom none can comprehend,- and none explore ! Who fill'st existence -with thyself alone : Embracing all - supporting - ruling o'er ! Being - whom we call God — and know no more ! Discourse on written composition is generally broken up into different por- tions, consisting of one or a greater number of periods, and generally marked by a break in the composition, with an indentation of the left marginal line of the page, and called Paragraphic portions, or Paragraphs. The pause that indicates the transition from one of these portions to another, may, with propriety, be called the Paragraphic Pause. EXAMPLE. Have we no great names to go flaming down the ages ? When will Henry's clarion voice be hushed, or Warren cease to tell men how to die for liberty? When will Adams, and Franklin, and Jefferson, fade from history? Is it con- stitutional wisdom, excellence of laws, or incentives to individual exertion? No other land can compare with ours in these respects. Is it grandeur of scenery? God has made but one Niagara, one Mississippi, one Hudson. Is it territorial extent ? Our domain stretches from ocean to ocean, and from lake to gulf. By all these incentives, let our school-boys be fired with an enthusiastic love for the dear land of their birth, the precious heritage of their fathers ; let them leave the school-room for the arena of active life, feeling that, next to God and their parents, their country claims and shall receive their best affections and most uncompromising devotion ; let them realize that their conduct will bring honor or dishonor upon their country, as surely as upon their parents and friends ; let them learn to identify themselves, as citizens, with the interests of the commonwealth— blushing at whatever disgraces her, exulting in all that contributes to her glory and renown; let ihem feel that this great country is their country — that they have a personal proprietorship in the- lustre of her history, the honor of her name, the magnificence of her commerce, the valor of her fleets and armies, the inviolability of her constitu- tion and laws, and the magnitude and beneficence of her civil, social, and re- ligious institutions. All the Elements of Expression, in their single and combined action in the production of the various kinds of Emphasis, Qualities of Voice, Waves, INFLECTION AND EMPHASIS. £ Measures of Speech, Transitions, Drifts and Pauses, that are intended to be observed in reading Prose, should be equally applied in the reading of Verse. There is this only difference in the intonation of poetry from that of prose . the use of the Cesural Pause, which can not be brought into re- quisition in prose, from its exclusive applicability to verse, as also the pre- dominance in verse of either the Common or Triple time measure of speech. These are the only two particulars which distinguish the intonation of poetry from prose. The balance of the difference consists, not in intonation, but arises out of the mechanical construction of the sentences ; the more or less regularity of the rhythm in verse, and the great irregularity of it in prose. We have found that when the student could manage the rhetorical pause well, he had little difficulty with the poetical pauses. The principle of their application is the same, only in poetry it is more regular and uniform. INFLECTION AND EMPHASIS. Emphasis always points out the sense of those ivords which may be regarded as expressive of certain tlioughts, sentiments, or emotions. Whatever is the sense of any word, Emphasis will bring it out ; and will not only raise it into conspicuous importance, but contradistinguish it from the sense of other words, mark or direct the sense of an ellipsis, and point out grammatical relation. The occasions for the use of Emphasis are of constant occurrence; and either of these circumstances will afford sufficient ground for its use. A perception of the grammatical construction of a sentence, of its special mean- ing, of the kind and amount of feeling it is intended to convey — in a word, a perception of the relation of thoughts in the author's mind — are the circumstances which must regulate the application of Emphasis. A nice and rigid analysis of the import of what is read or said is neces- sary, to employ Emplmsn wtth correctness or propriety. There are certain characteristics of vocal sounds which unerringly call the attention of an auditory. They are High Po7cers of Stress, in any of its specific mod's; Extreme Length of Quantity; Wide Intervals of Pitch; and a Peculiar Quality of Voice, wf&en set on loords, may be considered as Elements* of Emphasis. When the Emphasis is positive or absolute, we us- the Falling Inflection' When the Emphasis is relative, or dependent upon something yet to fi>ll>7c; we use the A'isino Inflection. '_ DRILL BOOK. 70 Examples. 1. On! on! you noble English. 2. Must I bid twice? Bone, varlets, FLY ! 3. Slaves ! traitors ! have ye flown? 4. To arms ! to arms ! ye braves ! 5. Be assured, be ASSURED, that ihis declaration will stand. 6. Rise, rise, ye wild tempests, and cover his flight ! 7. To arms ! to arms ! to ARMS ! they cry. 8. Hence ! home, you idle creatures.! get you HOME ! 9. hurrah for bright water ! HURRAH ! HURRAH ! 10. I met him, faced him, SCORNED him. 11. Horse! hokse! and CHASE ! 12. We may die; die colonists ! die SLAVES! 13. The chargers utterly, totally, MEANLY, false. 14. Ay, cluster there ! Cling to your master, judges, ROMANS, SLAVES. 15. I defy the honorable gentleman; I defy the government , 1 deiy ih«, WHOLE PHALANX. 16. Strike till the last armed foe expires ! strike for your altars and youi fires ! STRIKE for the green graves of your sires! 17. He has allowed us to meet you here, and, in the name of the present generation, in the name of your country, in the name of LIBERTY, to thank you. 18. They shouted France ! Spain ! ALBION ! VICTORY ! We see that Emphasis and Inflection are intimately connected. We es- pecially urge the use of the falling inflection whenever the sense demands it, as the character, amount of knowledge, and even success of an individual may be understood or made a failure by its neglect. We submit the following rule for the application of Inflection : In all Loose, Complex, and Compound Sentences whatever, those members, clauses, and phrases which have the sense incomplete, or are dependent on some- thing following, should have the RISING inflection; and all those which have the sense finished and completed, or are independent of any thing that follows, require the falling inflection. In this rule we have embraced the two great important particulars, which are the grand governing principles in nearly all the rules regulating ihe in- flections of the voice, at the end of members and smaller sections of sentences. They are very comprehensive, and should, therefore, be well understood : and when once understood so as to be carried into practice, they will greatly aid the reader and speaker, in giving him a clear and extensive view of the sen- sitive relations of the different members, clauses, and phrases of sentences ; and als-o of the force and poiver of language. Examples in Inflection and Emphasis. 1. I am s . 2. Life is sharp, 3. Eternity is long s . INFLECTION AND EMPHASIS. 7 1 4. Are you prepared' ? 5. Will you'? 6. If they return^. 7. Forgive us our sins s . 8. Depart thozf. 9. Home'! home'! you i'dle dolts v ! Get you home\ » You blocks\ you stoned, you worse v than Senseless things'! Home v to your huts'! You grov'eling brutes'! What' though the field be lost'? All v is not' lost': the unconquerable will', And stud v y of revenge', immor'tal hate\ And cour'age nev'er to submit' or yield'. 11. And be thou instruc'ted, O Jerusalem', lest my soul' depart' from thee , lest I make thee' des'olate, a land not' inhab'ited. If the members of a concluding series are not emphatic, they all take the rising inflection except the last, which takes the falling inflection ; but if em- phatic, they all take the falling inflection except the last but one, which takes the rising inflection. Examples. 1. The dew is dried up', the star is shot', the flight is past', the man forgot'. 2. He tried each art', reproved each dull delay', allured to brighter worlds,' and led the way'. 3. She winks', and giggles', and simpers', and simpers', and giggles', and winks'. 4. They will celebrate it with thanksgiving', with festivity', with bonfires', with illuminations'. 5. You bring with you marks of honor from Trenton and Monmouth', from Yorktovvn', Camden', Bennington', and Saratoga'. 6. He was so young', so intelligent', so generous', so brave', so every thing' that we are apt to like in a young man'. 7. My doctrine shall drop as the rain', my speech shall distill as the dew', as the small rain upon the tender herb' and as the showers upon the grass'. In direct address, the name of the person or thing addressed generally re- ceives the rising inflection. Examples. 1. Bright angels', strike your loudest strings. 2. Exult, then', O sun" in the strength of thy youth. 3. Salgar', it is Colma who calls ! Salejar'. my love' ; I am here. 4. But hush, my sighs': fall not, ye drops of useless sorrow'! heart-break- ing anguish', choke not my utterance! 5. Awake, voice of sweet song" Awake, my heart', awake ! green vales and icy cliffs', all join my hymn. 6. Wives', submit yourselves unto your own husbands. Husbands', love your wives. Children', obey your parents. 7. I am not mad, most noble Festus', but speak forth the words of truth and soberness. ,_- DRILL BOOK. When emphasis is applied, the names of persons or things addressed gener- ally take the falling inflection. If very emphatic, all the members may receive the falling inflection. Examples. i. Oh. horrible"! Oh, horrible"! most horrible'! 2. My phial"! Ha"! it thrills me"! I revive"! 3. Ha" 1 what a life were this"! how sweet"! how lovely v ! 4. Bat hush"' hark"! a deep sound strikes like arising knell"! 5. Mercy"! pity"! help"! help me, my children"! defend me"! 6. Help"! help"! ho"! help"! The Moor has killed my mistress"! Murder"! murder"! 7. See there again"! my bed's on fire"! the flames are kindling round my headM the smoke"! I'm strangling"! — cannot fly"! fire"! water"! help"! Oh, haste", I die"! 8. O heaven"! methought, what pain it is to drown"! What dreadful noise of water in mine ears"! What sights of ugly death within mine eyes v ! Further Examples. 1. Are you going to the Rocky Mountains'? Yes". 2. Is Alonzo, the Spanish prisoner, confined in this dungeon'? He is\ 3. Soldier, hast thou a wile'? I have". 4. What can alone ennoble fight"? A noble cause". 5. What sought they thus afar"? Bright jewels of the mine'? The wealth of seas', the spoils of war' ? They sought a faith's pure shrine". 6. What would content you"? Talent'? No". Enterprise'? No". Courage'? No". Reputation'? ' No". Virtue'? No". The men whom you would elect should possess not one, but all of these. 7. Who is to judge concerning the frequency of these demands"? The min- istry". Who is to judge whether the money is properly expended"? The Cabinet behind the throne". 8. Are you ignorant of many things which it highly concerns you to know'? The gospel offers you instruction". Have you deviated from the path of duty'? The gospel offers you forgiveness". Do temptations surround you'? The gospel offers you the aid of heaven". Are you exposed to misery'? It consoles you". Are you subject to death'' It offers you im- mortality". In Contrast and Antithesis, the inflections alternate for variety. 1. Yes, he is a miracle of genius', because a miracle of labor". 2. Respectability and character abroad', security and confidence at home". 3. Drv den is read with frequent astonishment', and Pope with perpetual delight'. 4. Which some suppose inferior, — as the sable' is to ermine"; as smut', to flour"; as coal', to alabaster"; as crows', to swans"; as soot', to driven snow\ 5. They poor', I rich"; they beg', I give"; they lack', I lend"; they pine', I live". 6. And it shall be, as with the people', so with the priest"; as with the ser- vant', so with the master"; as with the maid', so with her mistress"; as with the buyer', so wi'h the seller"; as with the lender', so with the borrower"; as with the taker' of Usury, so with the giver" of usury to him. INFLECTION AND EMPHASIS. w- 7. God hath a presence in the fold of the flower', the leaf of the tree\ in the sun of noonday', the star of the night v ; in the storm-cloud of darkness*, the rainbow of lightk in the waves of the ocean', the furrows cf land'; in the mouhtain of granite', the atom of sand\ 8. The tastes of men do differ very considerably. One may relish poetry mosf ; another takes pleasure in nothing but his v tory\ One prefers cem'edy ; another, trag v edy\ One admires the sim'ple' , another the ornamental st)le\ The young are amused with gay and sprightly composi 'twits' ; the elderly are more entertained with those of a grav v er cast\ Some nations delight in bold pictures of manners', and strong representations of pas' ' sions 1 ; others incline to more correct and regular elegance, both in discrip'tion' and sentiYnent\ Though a\\ s differ", yet all' pitch upon some one beauty which peculiarly suits their turn of mina\- and, therefore', no one s has a right' to condemn' the rest". The parenthetical clauses will take the same inflection at the close, that marks the word preceding the parentheses. 1. After dinner, he retired (as was his custom') to his bed-chamber, where (it is recorded') he slept quietly, for about a quarter of an hour. 2. May the like serenity (in such dreadful circumstances'), and a death equally glorious, be the lot of all whom tyranny (of whatever denomination or description') shall (in any age or in any country) call to expatiate their vir- tues on the scaffold. 3. Then went the captain with the officers, and brought the apostles with- out violence"; (for they feared the people, lest they should have been stoned y) and when they had brought them, they set them before the coun v cil\ The following is an example of variety in emphasis : Are they He'brews ? So am I\ Are' they Israelites? So am I\ Are' they the seed of A'braham ? So am T. Are' they the ministers of Christ'? I am more\ the downward octave Give the negative " A r o," with same cadence Well' done'! "Heigh-ho." with same cadence. "Sir, I thank the government for this measure." (Same cadence on " thank.") " I insist on this point ; I urge it ; nay, I demand it." (Same on " insist" " urge" and "demand.") By the Emphatic Tie, we mean the application of emphasis to words which do not otherwise require distinction, merely for the purpose of associating those ideas, or separated parts of a sentence, which can not, by any other mode of vocal syntax, be brought together ; or can not be exhibited in their natural grammatical dependence. The process of this function may be easily understood ; for regulated words, however disjointed in composition, are at once brought within the field of hearing, in their relationship, whenever they are raised into attractive importance by any form of emphatic distinction. Good reading or speaking consists in the continual variety of light and shade, produced by the proper adjustment of these functions. j . DRILL BOOK. THE EMPHATIC TIE. Distant words, having a sensific relation to each other, will have this relation exhibited very clearly by giving them some form of emphasis, thereby elevating them, and joining or tieing ihem (as it were) together, in a sense-making manner. About her middle round, A cry of HELL-HOUNDS, never-ceasing, BARKED, With wide. Cerberian mouths, full loud, and RUNG A hideous peal. The main current of thought in this passage, is interrupted by slurring the two expletives intervening between the emphatic words. The different parts of the main current, which are separated by the cross-currents, must be con- nected by the use of the Empkatu Tie which should be placed on the words " hell-hounds," " barked," and " rung." The main current of this passage consists of the lollowing About her middle round, A cry of hell-hounds barked and rung a hideous peal. Tne cross-currents are : never ceasing With wide. Cerberian mouths, full loud When CHEERFULNESS, a nymph of healthiest hue, Her bow across her shoulder flung, Her buskins gemm d with morning dew, Blew an INSPIRING AIR, that dale and thicket rung, The HUNTER S CALL, to Fawn and Dryad known. The words " inspiring air'' and " hunter's call'' are in apposition ; but their intervening matter might make " rung" pass for a transitive, instead of an intransitive verb, and thereby render "call" the object to it. To show, therefore, that by " hunter's call" the author means the same as by '"inspiring air" previously mentioned, these words should receive strong emphasis, and the intervening clause slurred. This is the best mode for restoring to the ear that natural order which is inverted in the sentence. Perspicuity may also be aided a little, by emphasizing " cheerfulness," and slightly slurring what follows it unto the end of the third line. But the Jews did not BELIEVE, concerning him, that he had been blind and received his sight, until they called the PARENTS of him that had re- ceived his sight. And they CAST him CUT. Jesus HEARD that they had cast him cut; and when he had found him, he said unto him, Dost thou BELIEVE on THE WAVE OF THE CIRCUMFLEX. ^~ the SON of God ? He answered, and said, who is he, Lord, that I might believe on him ? And SEND' ST HIM. shivering m thy playful spray, And howling to Ins gods, WHERE happy LIES His petty HOPE in some near port or bay. And then he beheld, enjoying a sweet and tranquil SLUMBER, the man, WHO. by the doom of himself and his fellows, was to DIE within the short SPACE of TWO HOURS. HIS FRIEND, who runs apprised of the state he was in, and who 7iatur ally concluded he was ill, OFFERED him some WINE. It is obvious that the audible means for displaying the sense of discourse is greatly contributive to the analysis necessary to present a clear picture of thought m delivery, and can not fail to reveal the latent beauties, as well as defects, of composition. The Art of Rhetoric can not but be greatly assisted by that of Elocution, since a careful consideration of the nice tensific relations of words in written language is constantly necessary in the art of Rhetoric. THE WAVE OF THE CIRCUMFLEX. The Circumflex is a union of the inflections, and is of two kinds : Rising and Falling. It is governed by the same principle as inflections ; that is, positive as- sertions of irony, raillery, etc., will have the Falling circumflex; and all neg- a ive assertions of doubled meaning will have the Rising. Doubt, pity, contrast, grief , supposition, comparison, irony, implication, sneer- ing, raillery, scorn, reproach, and contempt, are expressed by them. Be sure and get the right feeling and thought, and you will find no difficulty in expres- sing them properly, if you have mastered the voice. Both these circumflex inflections may be exemplified in the word "so," in a speech of the Clown, in Shakespeare's " As You Like It :" I knew when seven justices could not take up a quarrel ; but when the parties were met thenr^eb'e;, one of them thonght but of an If; as if you said so, then I said so. Oh, ho ! did you say so? So they shook hands, and were sworn friends. The Queen of Denmark, in reproving her son, Hamlet, on account of his conduct towards his step-father, whom she married shortly after the murder of the king, her husband, says to him, "Hamlet, you have your father much ^r DRILL BOOK. offended." To which he replies, with a circumflex on you, " Madam, ySu have my father much offended." He meant his ozvn father ; she, his step- father. He would also intimate that she was accessory to his father's murder; and his peculiar reply was like daggers in her soul. In the following reply of Death to Satan, there is a frequent occurrence of circumflexes, mingled with contempt: "And reckon'st thou thyself with spirits of heaven, hell-doomed, and breath'st defiance here, and scorn, where / reign king? — and, to enrage thee more, th"y king and lord 7" The voice is ciicum- flexed on heaven, hell-doomed, king, and thy, nearly an octave. Zounds ! show me what thou'lt do: woul't fast? woul't tear thyself? I'll do it. Dost thou come here to whine? to outface me, with leaping in her grive? Be buried quick with her, and so will/"/ and if thou prate of moun" tains, let them throw mil" lions of acres on us, till our ground, singe- ing her pate against the burning zone, makes Ossa like a wart. Nay, and thoul't mouth, / // rant as well as thou. For the purpose of securing flexibility of voice in this complex movement, and for the executions of Inflections and Transition, an exercise may be given on the direct and inverted waves, — single and double. If the direction of the first part of the wave is upward, it is called direct ; if downward, indirect. Practice on the " Speech of the Clown" until the utterance becomes natu- ral. Then this sentence, " Did you say hail" ? Yes, I said hair." The inter- val will be third, fifth, or octave, according to earnestness. We can not leave the subject of the Inflections, Slides, and Waves of the voice without noticing a few of the faults to be avoided. The principal faults in the intonafion of the cadence may be enumerated as follows : First, its total omission : for repose of the cadence, at the termination of a conspicuous train of thoughts, is in the highest degree grateful to the ear, and should, therefore, never be omitted. Second, a descent of the voice below the current melody to that extent which renders the last constituent of the cadence inaudible. Care should be taken that, in lowering the voice to form the cadence, its force may be kept sufficiently up, to render the close of the sentence perfectly audible. If the general pitch of the voice be so regulated as not to fall too low in effecting the close, there wi'l be no difficulty in making it sufficiently loud and forcible. Third, a repetition of the same form of cadence at every pause greater than that indicated by a comma. This monotony of the cadence may be avoided by the use of the suspension, or be changed to some other form of the cadence. Fourth, a want of variety, in not using a sufficient number of the different forms. There is an ample source for variety in the forms of the cadence, suited to all kinds of sentiment, and all forms of puantity, in the terminating syllables of sentences. PERSONATION. M y Careful study, combined with suitable practice, can not fail to correct all these defects above enumerated. In the personation, in the following, an opportunity is given for f he waves, direct and indirect : A Fool ! a Fool ! I met a Fool 1' th' forest — A motley Fool. A miserable world ! As I do live by food, I met a Fool, Who laid him down and bask'd him in the sun, And rail'd on Lady Fortune in good terms, In good set terms, — and yet a motley Fool. " Good morrow, Fool," quoth I. " No, sir," quoth he, " Call me not Fool, till heav'n hath sent me fortune :" And then he drew a dial from his poke, And looking on it with lack-lustre e)e, Says, very wisely, " It is ten o'clock . Thus we may see," quoth he, "how the world wags 'Tis but an hour ago since it was nine ; And after one hour more, 't will be eleven ; And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot ; And thereby hangs a tale." When I did hear The motley Fool thus moral on the time, My lungs began to crow like chanticleer, That fools should be so deep-contemplative ; And I did laugh, sans intermission, An hour by his dial ! — O noble Fool ! A worthy Fool ! Motley's the only wear. PERSONATION. We should give especial attention to the change of voice in Personation, In public reading and declamation, it is of great importance ; but is generally overlooked, or but little practiced. The narrative or descriptive sentences leading to the Personation, will de- pend for Force, Pitch, and Time, upon the character of the ideas in the Per- sonation. For instance, if a death scene is being given, as in "Poor Little Jim," the Pitch will be low, and diminish until the words uttered by the dying boy are reached. Then, with Pure Voice, slightly Tremor, Pitch mode- rate, and Time slow, with a pause between the narrative and the quoted words, the speaker will say : " Tell father, when he comes from work. I said good-night to him ; and mother — now-I'll-go-to-sleep." The last words very soft, and hesitating utterance. Before this example, is another in th. same selection, not quite so marked J 7 o DRILL BO_K. which we give, from the third verse. She gets her answer from the child ; softly fall the words from him — " Mother, the angels do so smile, and beckon little Jim ! I have no pain, dear mother, now, — but oh, I am so dry ! Just moisten poor Jim's lips again — and, mother, don't you cry." With gentle, trembling haste, she held the liquid to his lips. That which is quoted is supposed to be uttered by the dying child, and can not b^ given effectively without the changes in voice, etc., referred to above. If the ciimax of the narrative is a battle scene, and the Personation repre- sents an officer giving the command to charge, as in " The Light Brigade," then the most marked change will be made in the voice, between the descrip- tive and the Personation. " Forward the light brigade ! take the guns !" demands Full Force, Quick Time, High Pitch, Compound Stress ; and the descriptive preceding it will commence with Moderate Pitch, Moderate Time (increasing), and Medium Force .. uh Median Stress. Wc give a number of EXAMPLES for tl. aslice of the transitions necessary in Personations. per) " Stand to your guns, men !" Morris cried. Small need to pass the word ; ) Our men at quarters ranged themselves Before the drum was heard. Tl -h should fall three notes, at least, on the words "Morris cried,' and i >ut slightly on the remainder of the stanza, (de And when Peter saw it, he answered unto the people: , y | "Ye men ael, why marvel ye at this? or why look ye so earnesl on us, as thorn by our own power or holiness, we had made this man to wall ?" etc. Tc he Bible acceptably in public, requires the application of every princ elocution ; for no where is Expression so richly reward d, as in the lation of the sacred text. The descriptive and ation shou' o distinctly marked, that the attention will be at once ted to the d t styles, and the meaning understood. Shout, Tyranny, shout >ugh your dungeons and palaces •' Freedom is o'ei EXPRESSION OF THE PASSIONS AND EMOTIONS. ^ 4- Princes ! potentates ! Warriors ' the flower of heaven — once yours, now lost !- If such astonishment as this can seize Eternal spirits — Awake ! arise ! or be forever fallen ! These abominable principles, and this more abominable avowel of them' demand the most derisive indignation. I call upon that right reverend and this most learned Bench, to vindicate the religion of ihcir God, to defend and support the justice of their country. I call upon the bishops to interpose the unsullied sanctity of their lawn, upon the judges to interpose the purity of their ermine, to save us from this polution. EXPRESSION OF THE PASSIONS AND EMOTIONS- OBJECT OF THE STUDY OF ELOCUTION. Language is the foundation of a sentiment or emotion. As it is impossible to print a tear, a groan, a sneer, a laugh, or a look, so it is impossible to express all the meaning of an author, unless in the spirit of the sentiment, and, from long practice, one is able to express that sentiment. The mere repetition of the words of Shakespeare, would give little idea of the full meaning and power of those words. In this view, man- ner is quite as important as matter; for without it, the choic- est ideas, as represented by words, are lifeless. The study of Expression is the most important part of Elocution, as it is the appropriate and harmonious application of all the principles that form the science of utterance. // is the Art of Elocution. In extemporaneous discourse, emotions may suggest language, and language may suggest emotion. The emotions excited by language, arise from the clear, strong, and suitable exhibition of the relation of the ideas expressed in language. These relatio •>»; are always exhibited or expressed by the use of the Elements of Vocal Expression— Quality, Pitch, Force, Stress, Enifliasis, Inflection, rouse, and Personation. Practice upon these combinations gives confidence in their use in reading and speaking, and educates the Taste and Judgment. The ear is disciplined to notice exaggerations ami affectations, and to avoid them — as the skillful musjjian notices and avoids discords. 8o DRILL BOOK. Desiring to make this compilation a complete and thorough Drill Book and Guide, we enumerate the different elements of expression, neces- sary to the intonation of most of the feelings and emotions, with examples for practice. We would r ot be understood as claiming that there is an element of vo- cal expression peculiarly adapted to every different sentiment or emotion. The same vocal element is frequently used to express very different senti- ments and emotions. Bat by the management of these elements, in continu- ous and careful practice, all the varieties may be expressed, as the most com- plicate harmonies in music are produced by the notes of the scale, by the skill- ful musician. We begin with DIGNITY, GRAVITY, AND SOLEMNITY. These, and kindred expressions, as Adoration, Reverence, Venera- tion, and Awe, are expressed by Orotund Quality, Long Quantity, SI019 Time, and Median Stress.. Yet a few days, and thee, The all-beholding sun shall see no more, In all his course ; nor yet in the cold ground, Where thy pale form was laid, with many tears, Nor in the embrace of ocean, shall exist Thy image. Earth, that nourished thee, shall claim Thy growth, to be resolved to earth again ; And, lost each human trace, surrendering up Thine individual being, shalt thou go To mix forever with the elements, To be a brother to the insensible rock, And to the sluggish clod, which the rude swain Turns with his share, and treads upon. Thou shalt lie down With patriarchs of the infant world — with kings, The powerful of the earth — the wise, the good, Fair forms, and hoary seers of ages past, — All in one mighty sepulchre. The hills, Rock-ribbed and ancient as the sun — the vales Stretching in pensive quietness between — The venerable woods — rivers that move In majesty, and the complaining brooks, That make the meadows green — and, poured round all, Old ocean's gray and melancholy waste — Are but the solemn decorations all, Of the great tomb of man. These, as they change, Almighty Father ! these Arc but the varied God. The rolling year Is full of thee. 8i EXPRESSION OF THE PASSIONS AND EMOTIONS. And oft thy voice in dreadful thunder speaks ; And oft at dawn, deep noon, or falling eve, By brooks and groves, in hollow-whispering gales. In winter, awful thou ! with clouds and storms Around thee thrown, tempest o'er tempest rolled — Majestic darkness ! On ihe whirlwind's wing, Riding sublime, thou bidd'st the world adore, And humblest Nature, with thy northern blast. 3- These are thy glorious works, Parent of Good ' Almighty ! Thine this universal frame, Thus wondrous fair! — thyself how wondrous, then! Unspeakable ! who sitt'st above these heavens, To us invisible, or dimly seen Midst these, thy lowest works ! Yet these declare thy goodness beyond thought, And power divine ! CHEERFULNESS, LIVELINESS, GAIETY, EARNEST DESCRIPTION, And similar feelings, require the Nattiral or Pure Voice, Short Quantity Quick Time, Radical, and Vanishing Stress. Hear the sledges with the bells — silver bells ! What a world of merriment their melody foretells ! How they tinkle, tinkle, tinkle, in the icy air of night ! While the stars that oversprinkle all the heavens, seem to twinkle With a crystalline delight — Keeping time, time, time, in a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells, bells, bells, bells, — From the jingling and the tinkling of the bells. Hear the mellow wedding-bells — golden bells ! What a world of happiness their harmony foretells ! Through the balmy air of night, how they ring out their delight ! From the molten-golden notes, all in tune, What a liquid ditty floats To the turtle-dove that listens, while she gloats On the moon ! Oh, from out the sounding cells, What a gush of euphony voluminously wells ! How it swells, how it dwells On the Future ! How it tells of the rapture that impels To the swinging and the ringing of the bells, bells, bells, Of the bells, bells, bells, bells, bells, bells, bells — To the rhyming and the chiming of the bells. 3- But, oh ! how altered was its sprightlier tone, 82 DRILL BOOK. When Cheerfulness, a nymph of healthiest hue, Her bow across her shoulder flung, Her buskins gemm'd with morning dew, Blew an inspiring air, that dale and thicket rung, The hunter's call, to Fawn and Dryad known ! The oak-crowned sisters and their chaste-eyed queen, Satyrs and sylvan boys were seen, Peeping from forth their alleys green : Brown Exercise rejoiced to hear, And Sport leaped up, and seized his beechen spear. O bright, beautiful, health-inspiring, heart-gladdening water ! Every where around us dwelleth thy meek presence — twin-angel sister of all that is good and precious here ; in the wild forest, on the grassy plain, slumber- ing in the bosom of the lonely mountain, sailing with viewless wings through the humid air, floating over us in curtains of more than regal splen- dor — home of the healing angel, when his wings bend to the woes of this fallen world — ; Oh, water, pure water, bright water for me, And wine for the trembling debauchee ! MIRTH, WIT, PLEASANTRY, JOY, RAPTURE, DELIGHT, SPRIGHTLINESS, AND GOOD HUMOR, Require for their expression, Short Quantity, Quick Time, Rising Inflections, Radical, and Median Stress, with occasional use of the Tremor Voice. But thou, O Hope ! with eyes so fair ! What was thy delighted measure? Still it whispered promised pleasure, And bade the lovely scene at distance hail. Still would her touch the strain prolong ; And from the rocks, the woods, the vale, She called on Echo still, through all her song ; And, where her sweetest theme she chose, A soft, responsive voice was heard at every close : And Hope, enchanted, smiled, and waved her golden hair. Oh, then, I see, Queen Mab hath been with you ; She comes In shape no bigger than an agate stone On the forefinger of an alderman, Drawn by a team of little atomies Over men's noses, as they lie asleep ; Her wagon-spokes, made of long spinner's legs ; The cover, of the wings of grasshoppers ; The traces, of the smallest spider's web ; The collars, of the moonshine's watery beams ; Her whip, of cricket's bone ; the lash, of film; Her wagoner, a small gray-coated gnat, EXPRESSION OF THE PASSIONS AND EMOTIONS. Her chariot is an empty hazel-nut, Made by the joiner squirrel, or old grub, — Time out of mind, the fairies' coachmakers. And in this state, she gallops, night by night. Sometimes she gallops o'er a courtier's nose, And then dreams he of smelling out a suit ;' And sometimes comes she with a tithe-pig's' tail, Tickling a parson's nose as he lies asleep ; Then dreams he of another benefice. Sometimes she driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five fathoms deep ; and then anon, Drums in his ear, at which he starts and wakes, And, being thus frighted, swears a prayer or two,. And sleeps again. 3- (This selection may be made a Laughing Exercise.) i I wrote some lines, once on a time, In wondrous merry mood ; And thought, as usual, men would say* They were exceeding good. They were so queer, so very queer, I laughed as I would die ; — Albeit, in the general way, A sober man am I. I called my servant, and he came;-; — How kind it wjs of him, To mind a slender man like me:,, He of the mighty limb ! ' These to the printer !" I exclaimed ; ■ And, in my humorous way, I added (as a trifling jest), "There'll be the devil to pay !" He took the paper, and I watched, And saw him peep within ; At the first line he read, his face Was all upon a grin. He read the next ; the grin grew broad. And shot from ear to ear. He read the third ; a chuckling noise I now began to hear. The fourth, he broke into a roar ; The fifth, his waistband split ; The sixth, he burst five buttons off, And tumbled in a fit. 8 4 DRILL BOOK. Ten diys and nights, with sleepless eye, I watched that wretched man ; And since, I never dare to write As funny as I can. ASTONISHMENT AND SURPRISE, With Amazement, Exclamation, Admiration, or Wonder, require Long Quantity, Varied Force, Radical and Median Stress, Dowmvard and Up- ward Inflection, thirds, fourths, fifths, or octaves, according to excitement ; with Equal, Direct, and Inverted Waves ; Orotund Quality, and Guttural at times. Whence and what art thou, execrable shape ! That dar'st, though grim and terrible, advance Thy miscreated front athwart my way To yonder gates? Through them, I mean to pass- That be assured — without leave asked of thee ! Retire, or taste thy folly ; and learn by proof, Hell-born ! not to contend with spirits of heaven ! 2. Back to thy punishment, False fugitive ' and to thy speed add wings ; Lest with a whip of scorpions I pursue Thy lingering, or with one stroke of this dart Strange horror seize thee, and pangs unfelt before. 3- I should be surprised indeed, if, while you are doing us wrong, you did not profess your solicitude to do us justice. From the day on which Strongbow set his foot upon the shore of Ireland, Englishmen were never wanting in protestations of their deep anxiety to do us justice ; — even Strafford, the de- serter of the people's cause — the renegade Wentworth, who gave evidence in Ireland of the spirit of instinctive tyranny which predominated in his charac- ter — even Strafford, while he trampled upon our rights, and trod upon the heart of the country, protested his solicitude to do justice to Ireland ' What marvel is it, then, that gentlemen opposite should deal in such vehement pro- testations? Tell me — for you were there — I appeal to the gallant soldier before me, from whose opinions I differ, but who bears, I know, a generous heart in an intrepid breast ; — tell me, for you must needs remember, on that day when the destinies of mankind were trembling in the balance, while death fell in showers, when the artillery of France was leveled with the precision of the most deadly science, when her legions, incited by the voice and inspired by the example of their mighty leader, rushed again and again to the onset,— tell me if, for an instant, when to hesitate for an instant was to be lost, the "aliens" blenched? EXPRESSION CF XME TlSSIQNo AND EMOTIONS. o- 5- Aliens; GoodG