The beautiful lesson taught in this selection is apparent to every one. In reciting it you have, therefore, the advantage of presenting a reading that commends itself to all hearers, the sentiment of which is admirable. The piece will speak for itself, and there is a vast difference between a reading of this description and one that has nothing specially to commend it.
And here let me say something concerning your choice of recitations. First of all, they should be adapted to your range of capacity. It is simply grotesque for one to whom only tragedy is natural to attempt to recite humorous pieces. On the other hand, it is a great mistake for one who is expert in nothing but humorous selections to attempt to recite tragedy.
The error with many readers lies in attempting to do that for which they are not naturally fitted. The selections in this volume are so diversified that you ought to be able to find what is especially suited to your ability.
Nothing is inserted here simply because it is good poetry or good prose. There are thousands of readings and recitations, so called, that do not afford the elocutionist any opportunity to display his powers. They are a dull monotony from beginning to end. They fill the pages of the book, but nobody wants them. Every recitation in this volume has been chosen because it has some special merit and is adapted to call out the powers of the reader.
1. Taking now the recitation before us you have in the first verse the King’s command, which you should deliver in a tone of authority, extending the right hand on the fourth line.
And this affords me an opportunity to say that your gestures should never be thrust forward or sideways in an angular manner, but with something approaching a curve. Do not make gestures as though you were a prize-fighter and were thrusting at an imaginary foe. Remember that the line of beauty is always the curve.
2. This verse is narrative and requires a different expression from the one preceding it. Extend your right hand on the second line in which it is stated that the sculptor went upon his way, curving your arm outward and then letting it fall gently by your side.
3. In this verse the sculptor is in perplexity. He is trying to study out the riddle, and to express this you should use [Figure 22 of Typical Gestures].
4 and 5. These verses are also narrative, the only thing to be noted being the trembling timidity of the sculptor in the last part of the 5th verse. This should be indicated by the tones of your voice and general manner.