A Companion to Baker's Reading Club.

ELOCUTION SIMPLIFIED;
WITH
AN APPENDIX ON LISPING, STAMMERING, STUTTERING,
AND OTHER DEFECTS OF SPEECH.

BY
WALTER K. FOBES,
GRADUATE OF BOSTON UNIVERSITY SCHOOL OF ORATORY.

WITH AN INTRODUCTION

BY
GEORGE M. BAKER,
AUTHOR OF THE READING-CLUB SERIES, ETC.

BOSTON:
LEE AND SHEPARD, PUBLISHERS.
NEW YORK:
CHARLES T. DILLINGHAM.
1877.

COPYRIGHT.
1877,
By Walter K. Fobes.

THIS LITTLE BOOK
IS DEDICATED TO
Prof. LEWIS B. MONROE,
IN TESTIMONY OF APPRECIATION OF HIS MANY QUALIFICATIONS AS A
TEACHER OF THIS ART, AND OF THE RESPECT AND AFFECTION
WITH WHICH HE WILL EVER BE
REGARDED BY HIS FRIEND
AND PUPIL,
THE AUTHOR.

PREFACE.

"Why write this book?" say you.
"Because it is needed," say I.

There is no "digest" of elocution that is both methodical and practical, and that is low in price, now in the market.

This book is an epitome of the science of elocution, containing nothing that is not necessary for you to know, if you wish to make yourself a good reader or speaker.

You who will thoroughly study and digest this book, and then put in practice what you here have learned, will have started on the road, the goal of which is Oratory.

CONTENTS.

INTRODUCTION.

Rev. Dr. Hall of New York says, "There is one accomplishment in particular which I would earnestly recommend to you: cultivate assiduously the ability to read well. I stop to particularize this, because it is a thing so very much neglected, and because it is such an elegant and charming accomplishment. Where one person is really interested by music, twenty are pleased by good reading. Where one person is capable of becoming a skilful musician, twenty may become good readers. Where there is one occasion suitable for the exercise of musical talent, there are twenty for that of good reading.

"What a fascination there is in really good reading! What a power it gives one! In the hospital, in the chamber of the invalid, in the nursery, in the domestic and in the social circle, among chosen friends and companions, how it enables you to minister to the amusement, the comfort, the pleasure, of dear ones, as no other accomplishment can! No instrument of man's devising can reach the heart as does that most wonderful instrument, the human voice. It is God's special gift to his chosen creatures. Fold it not away in a napkin.

"Did you ever notice what life and power the Holy Scriptures have when well read? Have you ever heard of the wonderful effects produced by Elizabeth Fry on the criminals of Newgate by simply reading to them the parable of the Prodigal Son? Princes and peers of the realm, it is said, counted it a privilege to stand in the dismal corridors, among felons and murderers, merely to share with them the privilege of witnessing the marvellous pathos which genius, taste, and culture could infuse into that simple story."

Elocution trains the voice to obey the mind, and to rightly express thought and feeling. It is necessary to those who read or speak in public; to persons with defective speech; to those with nasal, shrill, throaty, or husky voices; to persons with diseased throat, or liability to it, arising from wrong use of voice.

The practice of the art of elocution is as necessary to the reader or speaker as practice of the art of singing is to one who intends to become a public singer. Any one attempting to sing for the public without previous practice would be justly hissed from the stage: and a like fate overtakes most speakers, who, without previous study of elocution, attempt to speak in public; that is, very few go to hear them.

CLERGYMEN

should learn to read impressively the Bible, Litany, hymns, and sermons: for as Dr. Holland says, "When a minister goes before an audience, it is reasonable to ask and expect that he shall be accomplished in the arts of expression; that he shall be a good writer and speaker. It makes little difference that he knows more than his audience, is better than his audience, has the true matter in him, if the art by which he conveys his thought is shabby. It ought not to be shabby, because it is not necessary that it should be. There are plenty of men who can develop the voice, and so instruct in the arts of oratory that no man need go into the pulpit unaccompanied by the power to impress upon the people all of wisdom that he carries." The same writer says of

STUDENTS.

"Multitudes of young men are poured out upon the country, year after year, to get their living by public speech, who cannot even read well. The art of public speech has been shamefully neglected in all our higher training-schools. It has been held subordinate to every thing else, when it is of prime importance. I believe more attention is now paid to the matter than formerly. The colleges are training their students better, and there is no danger that too much attention will be devoted to it. The only danger is, that the great majority will learn too late that the art of oratory demands as much study as any other of the higher arts; and that, without it, they must flounder along through life practically shorn of half the power that is in them, and shut out from a large success."

TEACHERS

should learn elocution so as to teach in a pleasing, effective manner; and also to teach reading in schools, so that children may learn to read in an easy, agreeable way, and give thought to what they read; thus leading a child in all studies to get ideas from books, and not merely words without meaning.

PUBLIC SPEAKERS

should, by study of elocution, learn the best manner of moving, persuading, and instructing their audiences; thus adding to their own popularity, and consequently widening their influence.

LAWYERS,

by practice of elocution, will find greater ease in speaking to witness or jury, and thus be greatly aided in their work.

ACTORS AND PUBLIC READERS

lose both time and money by a neglect of elocution, the practice of which is essential to success in their vocation.

SINGERS,

by study of elocution, can best obtain that perfect articulation and elegant expression so necessary to the successful singer.

ALL PERSONS

who have a taste for reading should study elocution, as reading aloud in the social or home circle is one of the most instructive, pleasing, and healthful pastimes in which we can indulge.

DEFECTIVE SPEECH,

as lisping, stammering, stuttering, &c., can be entirely cured by a study and diligent practice of elocution.

UNPLEASANT VOICES,

either shrill, nasal, throaty, husky, or with any other disagreeable quality, can be made agreeable by practice of elocution.

To meet all these wants, this treatise has been prepared. Embracing as it does a thorough exposition of the principles of elocution in an eminently practical form, adapted to the requirements of the student, the professional man, and the amateur, by a graduate of the Boston School of Oratory (acknowledged to be the best Institute of Elocution America has produced), himself a successful teacher and reader, it seems to present the whole science in a nutshell, so that he "who runs may read" in reality, if he but follow the instructions of this Manual. Here elocution is not only simplified, but, in this neat and cheap form, placed within the reach of all.

GEORGE M. BAKER.

ACKNOWLEDGMENT.

I would here acknowledge my indebtedness to Prof. Lewis B. Monroe, Dean of Boston University School of Oratory, for what I have learned of expression in elocution; to Prof. A. Graham Bell of Boston for valuable instruction in articulation and inflection; to Prof. Edward B. Oliver of Mendelssohn Musical Institute of Boston for his most excellent instruction in tone.

The method of study of this book is the result of the knowledge gained from these three superior instructors. The plan of Part Three will be found to be that of Monroe's Sixth Reader.

METHOD OF STUDY OF ELOCUTION.

Part First, a series of gymnastics to give strength and elasticity to the muscles used in speaking, to expand the chest, and to get a correct position of body, so that speaking may be without effort, and yet powerful.

Part Second, a system of vocal exercises for daily practice, to train the voice, and get command of tone, quality, pitch, inflection, force, stress, articulation, and right manner of breathing.

Part Third, the application of the vocal exercises to the reading of short extracts, showing the effect when thus applied, and showing the difference between the seven styles,—conversational, narrative, descriptive, didactic, public address, declamatory, and emotional or dramatic.

There will be found references to select pieces in Baker's "Reading Club and Handy Speaker," for practice in the different styles of reading.

Hoping this little book may be of benefit to many, it is sent forth to help those who love the art, but with no thought of recommending this book for self-instruction, and substituting it for the instruction to be gained from a good teacher of the art. If a good teacher is not to be had, use this book.

WALTER K. FOBES.

Cambridge, Mass., October, 1877.

ELOCUTION SIMPLIFIED.

PART ONE.
PHYSICAL GYMNASTICS.

Goethe says, "All art must be preceded by a certain mechanical expertness."

You find it so in the art of playing the piano: the fingers must be made nimble, and the wrists elastic, before any thing else can be well done. In the art of singing you have to exercise the voice in many ways to get command of it. So, in the art of elocution, it is necessary to practise the mechanics of physical and vocal culture, that you may be prepared to express properly your thought and feeling.

You need first a healthy body, elastic and strong in muscles, and especially in those muscles used in the production of voice. For this latter purpose I will describe as clearly as I can Monroe's system of gymnastics, and for the former recommend any other gymnastics that will give health, strength, and especially elasticity.

ATTITUDE.

1. Standing Position.—Hamlet, so Shakespeare tells us, ends a letter to Ophelia thus:—

"Whilst this machine is to him, Hamlet."

Your body is the machine by means of whose working you express your mind and feelings. If you were to run a steam-engine, you would be very careful to place the machine in such a position, that it would do the most work with the least wear and tear. You must do the same with this machine, your body. To get a correct standing position, place yourself with back against a smooth wall in the room, with shoulders flat, your back as nearly straight as you can make it, and every part, from head to heel, touching the wall. This gives you an upright position, but feels uncomfortable, because the weight is too much on the heels. Sway the whole body in its upright position forward, so that the weight will come mostly on the balls of the feet; and, in doing so, do not bend any part except at the ankles. You are now in a proper position for speaking. The head is erect, shoulders thrown back, chest expanded, back nearly straight, the weight of the body is about equal on ball and heel of the feet, and your poise of body as it would be naturally in the act of taking a step forward. This puts every part of your body in the best condition for easy speaking.

2. Speaker's Position.—This position should be assumed before an audience when some other position is not required for dramatic expression. It is the standing position, with the weight upon one foot, and the other advanced. Let the advance foot be about a heel's distance from the middle of the foot behind, and form a right angle with it.

3. Sitting Position.—When you read in a sitting position, the body should be as in speaker's position, and feet also, the poise of body being forward.

4. Change of Position.—You sometimes wish to turn to address your audience at one side. To change gracefully from the speaker's position, turn the foot in advance on the ball, outward, until it becomes parallel with the foot behind; then take the weight on it, and turn the other foot till you have correct speaker's position. If, as you stood at first, facing the audience, your weight was on the right foot, you will find yourself facing to the right; if the weight was on left, you will face left. When facing the audience, to change the weight from one foot to the other, take one short step either forward or back.

5. Poise of Body.—To get steadiness of body, to keep a correct poise, and to prevent all unseemly swaying, when standing to read or speak, assume standing position, and, keeping feet flat on the floor, sway forward until the weight comes entirely on the ball of the feet. Don't bend the body. Then sway back to standing position. Then sway backward, keeping feet flat on the floor and the body straight, until the weight is entirely on the heels; from that sway forward to position.

6. Rise upon the Toes.—For the same purpose as the above. Assume standing position, and rise as high as possible on the toes very slowly; then sink slowly so as to come back to standing position. Be very careful not to sway backward in coming down, and you will find yourself in the exact poise of standing position. Also do the same from speaker's position, rising on one foot.

7. Holding the Book.—Hold your book in the left hand, on one side of the body, so that your face will not be hid from the audience. The top of the book should be about even with the shoulder. Many, in reading, hold the book in front of them; but that is not so pleasant to an audience, and leads to a stooping position, a contracted chest, and ill health.

Note.—All the foregoing exercises relate to position of body necessary for the most powerful, and at the same time the easiest, action of the vocal organs; also to the attitudes most pleasing to an audience when they look upon a reader or speaker. Practise them until they become habits, and so unconsciously you will assume correct position when you stand.

CHEST EXPANSION.

For purposes of speech, you need to use more breath than for ordinary breathing or conversation. You therefore need to make as much room as possible for good fresh air by exercise to expand the chest. Elocution is beneficial to health for this reason.

1. Active and Passive Chest.—Your chest in its ordinary position is what, in elocution, is called passive chest. The active chest is that assumed in the standing position, where the chest is raised up slightly and expanded, with the shoulders drawn back. Practise as an exercise the active and passive chest, alternating from one to the other without breathing, or moving the shoulders. The active chest must be kept in all the physical and vocal gymnastics, and at all time during speech. With practice it will soon become established as a habit; and your every-day attitude will be more erect as a consequence.

2. Arms at Side.—Place your arms at the side, with elbows bent, so that from elbow to hand the arms are horizontal, and parallel with each other. Draw the elbows back, clinch the fist with palms up, and make chest active, keeping the back straight. Take a full breath, and hold it (see "Breathing"); then carry the arms at full length in front of you, your hands open and as high up as the shoulders; then bring them back to the position you started from, with hands clinched, palms up, and pull back with all your strength, raising the chest slightly more; then give out the breath. After some practice you may do it twice upon one breath, being sure to keep the arms as close to the body as you can; for, if you spread your arms, you will strain the muscles.

3. Fore-arm Vertical.—Assume standing position, and bend the arms, placing them vertically, and parallel with each other, at the side, with clinched hands as high as the shoulder; turn the fist out from the shoulder, raise the chest as much as you can, and, taking a full breath, hold it; bring the arms forward so as to touch the elbows together, if you can; then draw them back to first position, and pull downward and backward as hard as you can; then give out the breath. After some practice, do this twice on one breath, being sure to keep the arms and hands close to the body.

4. Full-arm Percussion.—In ordinary breathing, it is seldom you fill your lungs to their fullest capacity; and some of the air-cells are not filled, especially those at the extreme edges of the lungs. This and the following exercise are for the purpose of sending air into those portions of the lungs not ordinarily filled. Assume standing position; take a full breath, and hold it; then strike with the right hand upon the top of the left chest a very quick and very elastic blow, striking with fingers, and swinging the arm freely from its position at the side; then strike with left hand on right chest in same manner; repeat with each hand, and then give out the breath. Never strike with the flat palm or clinched fist, as that is very injurious and unhealthy.

5. Hand Percussion.—Assume standing position, and place your hands on your chest, with elbows as high as the shoulders; make chest active; take a full breath, and retain it while you strike alternately eight light elastic blows with each hand; then give out the breath.

BODY MOVEMENTS.

The muscles of the waist are the front or abdominal, the side or costal, the back or dorsal muscles. These muscles are very important in speech; and upon the strength and elasticity of these, and the inner muscles acting in connection with them, depend the force and strength of your voice. Three very simple movements are here given, which will give some measure of strength and elasticity to these muscles.

1. Body bend Forward and Back.—From standing position bend forward, keeping the back straight, and bending only at the hip-joints; touch the floor with your hands, if you can; then assume upright position, and bend back as far as you can.

2. Bend Right and Left.—From standing position, bend to right side as far as possible, bending only at the waist, and stretching the costal muscles; then assume upright position, and bend to left in same manner.

3. Turn Right and Left.—From standing position turn the body on the waist, keeping the hips still, and twisting the waist-muscles, first to the right, then to the left.

NECK MOVEMENTS.

The neck movements are necessary, because many of the disagreeable qualities of the voice are due to inelasticity of the muscles of the neck. The movements are in the same directions as for the body.

1. Bend forward and back.

2. Bend right and left.

3. Turn right and left.

It is not necessary to describe them at length: but, in bending right and left, be careful to keep the head from bending slightly backward or forward at the same time; and, in the turning of head, keep it erect.

Note.—This completes the physical gymnastics. Practise them until the purpose for which they are intended has been accomplished, and afterwards occasionally, to keep what you have gained. Take each exercise two or three times in succession. When thoroughly learned, this will not take more than five minutes. Practise them five minutes at morning and night.

PART TWO.
VOCAL GYMNASTICS.

You have no need to take any special exercise in walking for the ordinary purposes of life; but, if you wished to be a "walkist," you would need special practice to train and develop the muscles for that purpose. You may be a good singer, able to sing for your own amusement or that of your friends, without specially training the singing-voice; but, if you wished to sing in public, you would, if you were wise, train your singing-voice very carefully. As in these cases, so with the voice in speaking. For all ordinary purposes of speech, you need no special training of the speaking-voice; but when, as teacher, clergyman, lawyer, lecturer, actor, public reader, or in any other capacity, you are called upon to do more with the voice than others, you ought to train and develop your vocal powers. For this purpose, the following series of exercises are given for practice.

BREATHING.

As it is necessary that you should take in and give out more breath in speaking than at other times, you ought to be able to do this in a natural manner. If you will practise these breathing-exercises until they are easy for you, the breath in your reading or speaking will take care of itself. Practise breathing in the open air, and take in and give out the breath through the nose without making the slightest sound in so doing.

1. Abdominal Breathing.—Take standing position and active chest; place the fingers on the abdominal muscles, and the thumbs on the costal muscles; take a full breath, making the abdominal muscles start first, and move outward; then let the muscles sink in as the breath comes out. Make as much movement of these muscles as you can, both in and out; and be sure you keep the shoulders from moving. Pay particular attention to the movement of the abdominal muscles, letting all the rest (except the shoulders) move as may be easy to you. Practise this way of breathing until you can do it easily; and, if it makes you dizzy, do not be alarmed, but wait till the dizziness is entirely gone before you try again.

2. Costal Breathing.—Assume standing position with active chest; place the fingers on the costal muscles, and thumbs at the back; inhale a full breath, expanding as much as possible the costal muscles and ribs. In giving out the breath, make them sink in as much as possible. Keep shoulders still in breathing in and out, and let all other muscles be free to move as they may.

3. Dorsal Breathing.—Assume standing position with active chest; place the fingers at the back on dorsal muscles, and thumbs on the side; take a full breath, trying to expand the muscles under your fingers as much as you can. Rightly done, the abdominal and costal muscles, and the ribs, will also expand; the chest, if not already active, will rise; the shoulders will remain quiet. In giving out the breath, let the chest be the last to sink. This is the way of breathing in every healthy man, woman, and child. Any manner of dressing the body that hinders free and easy action of the abdominal, costal, and dorsal muscles, and the ribs, leads to ill health, because it interferes with the vital process of breathing; and ill health is fatal to success in any art.

4. Puffing the Breath.—Assume standing position, with active chest; take a full breath, and, rounding the lips as if you were about to say the word "who," blow the breath out as you would in blowing out a light; inhale again, and repeat the puffing.

5. Puff and Pause.—Puff the breath as before, three times, pausing about five or more seconds, holding the breath between the puffs. In holding the breath, let there be no pressure upon the lungs or throat, but control it by keeping the waist-muscles still. (See "Holding Breath.")

6. Puff and Breathe.—Puff three times in the same way as before, breathing between the puffs, thus: place the fingers of one hand on the upper part of the chest, the fingers of the other hand on the abdominal muscles; keep the chest still, and make the abdominal muscles sink every time you puff out the breath, and expand, every time you take in breath, between the puffs. In this exercise breathe through both nose and mouth. By practice of these three ways of expelling breath you get command of it.

7. Holding the Breath.—When you hold your breath for a longer or shorter time, or try to control it for any purpose of speech, you should do so by means of the muscles spoken of in "Dorsal Breathing," as being the ones used in right manner of breathing. You must try to control the breath by keeping the waist-muscles still; and there should be no feeling of pressure or uneasiness on the lungs, or in the throat or mouth. "If at first you don't succeed, try, try again: time will bring you your reward: try, try again." Get control of the waist-muscles so as to keep them still; and, while you hold them still, there is no possibility of the breath getting out.

TONE.

A good tone in speech is as much to be desired as it is in song. Some have it as a gift of nature; and all can acquire it, in a degree, by judicious practice. If you have an excellent voice, you can make it still more excellent by practice; and, if you have a poor voice, you can, by practice, make it full, pleasant, and effective, and excel that one who has a good voice, but makes no effort to improve it. The tone-exercises here given are designed to give command of tone, and develop purity and power. They should be practised five minutes at a time, at four different times of the day, and double that time if possible, in order to get the greatest amount of good from them. Use any tones of your voice, high or low, without being at all particular about an exact musical pitch; though, if you can practise with an organ or piano, you will find it much more beneficial.

1. Glottis Stroke.—Assume standing position with active chest; take full breath, and whisper forcibly the word "who" three times. Repeat the same. Now whisper "who" twice, and speak it aloud the third time; then whisper "who" once, and speak it aloud the second and third time; then speak "who" aloud three times. Now speak "who" twice, and the third time say "oo" as those letters sound in the word woo; then say "who" once, and "oo" the second and third time; then "oo" three times. You should make both the whisper and vocal sound very short and sudden, without any feeling of contraction or effort in the throat or mouth. It should seem to you as if the sound came from the lips; and, while you are energetic in the exercise, it must be done with perfect ease. You have thus proceeded, from an easy, forcible whisper, to an easy, forcible sound, and have thus obtained what is called the "Glottis Stroke." After diligent practice on the above exercise, use any of the short vowels (see "Articulation"); speaking each vowel three times very shortly, as you did the vowel-sound oo.

2. Soft Tones.—Assume standing position with active chest, and take breath; prolong very softly oo as long as your breath will let you, being careful not to force the sound to continue after you feel the slightest need of breath, and also not to change the position of the mouth from beginning to end of the sound. Repeat three times. In this exercise you will probably hear the voice waver, and find it difficult to keep it very soft, and yet distinct. Practice will overcome this, and the exercise will be found very beneficial. The ability to do it shows cultivation of voice. After some time, use also the long vowels. (See "Articulation.")

3. Swelling Tones.—Assume standing position with active chest, and take full breath; then begin the vowel oo very softly, and gradually swell it to a full tone, and then as gradually diminish it to the gentlest sound. Be careful, as in soft tone, as to breath, and position of mouth. After some practice, you should be able to continue on one breath, either the soft tone or swelling tone, twenty seconds; which is long enough for practical purposes. Use same vowels as in soft tone.

PITCH.

It is necessary to all expressive reading that there should be as much variation in pitch of voice—that is, as to high and low tones—as possible, and not overdo. The pleasantest quality of voice, without variation in pitch, is tiresome to the listener. To get command of pitch, you must practise till the high and low tones are as easy to make as the common conversational tones. If you can sing the musical scale of one octave in key of C, or B flat, you will find these exercises more beneficial than if you cannot sing. If you cannot sing, take a relatively high or low pitch, as your ear may guide you, and practise the chanting and reading of sentences as well as you can.

1. Learn the Musical Scale.—Sing the scale in music, using first the glottis stroke; that is, speak each very short as you go up and down the scale. Then practise soft tone and swelling tone on each tone within compass of your voice.

2. Chant Sentences.—Use one tone of voice, and take any sentence, prolonging the words without reference to the sense, without change of tone from beginning to end. When you use a high tone, make it light and clear; when you use a low tone, make it full, free, and forcible. Chant on each tone separately within the compass of the voice.

3. Read Sentences.—Use the same sentences as for chanting, and, beginning on each tone of the voice, speak it as you would in earnest conversation, in a way to give the meaning of it. You will see that if you begin with high pitch, although your voice varies in speaking, it will be a relatively high pitch through the whole sentence; and, if you begin low, it will be relatively low. With high pitch, make your voice light and clear; and with low pitch, full, free, and forcible.

INFLECTION.

In inflection the voice slides up or down in pitch on a word, and by so doing impresses your meaning on the listener. Inflections are infinite in number; but a few of them practised will be of benefit in getting command over them. When the voice slides up, it is called rising inflection; if down, a falling. If it slides both ways on the same word, it is called circumflex; and if it varies but little, and is very like a chant in song, it is called monotone. A major inflection gives an effect of strength; a minor, of feebleness.

1. Major Falling Inflection.—A falling inflection is indicated by (`) over the accented syllable of an emphatic word. If you do not already know the difference between a rising and falling inflection, suppose I say to you, "The book is on the table," and you, not understanding what place I said, should ask, "Where?" and I answer, "On the table." Your question would be made with rising, and my answer with falling inflection. Use any vowel-sounds, and practise the falling inflection as you would hear it on the word "table," avoiding all motion of head, arms, or body, and making it with much energy of voice, as if expressing strong determination.

2. Major Rising Inflection.—This is indicated by a (´) over the emphatic word. Practise with any vowel-sounds the inflection as you would hear it on "where," as above, observing same directions as in major falling inflections.

3. Major Rising and Falling Inflections.—Practise rising followed by falling, as óh, òh, áh, àh, aẃe, aẁe, &c., using long and short vowels. Then falling followed by rising, as òh, óh, àh, áh, aẃe, aẁe, &c., using long and short vowels. Use these as if asking a simple unimportant question, and giving a like answer; then a question and answer of earnestness; then of surprise; then of great astonishment. In so doing, your voice will range higher and lower in inflection than you otherwise would make it. Do not let any of the inflections sound plaintive or feeble, but make them strong and decisive.

4. Minor Rising and Falling Inflections.—Use the same exercises as under major rising and falling, just mentioned; with this difference, that you make them so as to sound week, feeble, plaintive, or sad. They should be practised that you may become familiar with their sound, and have them at command, so as to use them when needed for expression, and avoid them when not.

5. Circumflex Inflection.—This inflection is indicated by a mark (v ᴧ) or (◡ ◠) because it is a combination of rising and falling inflection. The first is rising circumflex, because it ends with the rising; the second is falling circumflex, because it ends with falling inflection. It is used in expression of doubt, irony, sarcasm; as in "The Merchant of Venice," act 1, scene 3, Shylock says to Antonio, "Hath a dǒg mǒney? Is it possible a cur can lend three thousand dǔcats?" You will see, if read to express Shylock's irony and sarcasm, that the words would be inflected, as marked, with rising circumflex. Practise these circumflex inflections with vowels as directed under major rising and falling inflections. The falling circumflex being the reverse of the rising, when once you are familiar with the rising, can be easily made.

6. Monotone.—This comes as near to being one tone of voice as it can be, and at the same time keep its expressiveness as reading. It is not really, as its name might indicate, one tone, as that would be like chanting in singing; but it is variation of inflection within very small limit of range in pitch. It is best practised as song, however. Prolong, on a low pitch, any of the long vowels, about five seconds. The mark for monotone is (-) placed over a word.

QUALITY.

The quality of the voice is that which affects us agreeably or disagreeably; and we say it is gruff, or husky, or harsh, or pleasant, &c. Four general and distinct qualities need to be practised until they are at command of the mind.

1. Whisper.—Whisper the long and short vowels very easily and quietly at first, without the slightest feeling of effort in throat or mouth, and perfectly free from hoarseness or murmuring. As soon as you can make a clear whisper heard across the room, whisper so as to be heard farther off, and so proceed gradually, day by day, until you can whisper, clearly and without effort, loud enough to be heard in a large hall. Do not practise whispering more than three minutes at a time.

2. Aspirate Quality.—This is what, in general, is called undertone. It is a mixture of whisper and voice, and is what you would be likely to use when in company you speak to any one with a desire not to be overheard by others. Practise with vowels as in whisper.

3. Pure Quality.—Speak the long vowels in your conversational tone as pleasantly as you can, tossing the tone lightly, as if speaking to some one across a large hall. Speak each vowel three times on one breath. Practise them first speaking shortly, then with prolonging of each tone not over five seconds.

4. Orotund Quality.—This quality is seldom to be heard in uncultivated voices, but is much to be desired in a speaker. It can only be acquired slowly and with much practice. It will be easily recognized when heard, as it possesses a fulness and richness of tone very pleasing. It is not high, but seems low in pitch; and, although it does not sound loud, it seems to be effective, and reach a long distance. To acquire it, practise, as recommended in "Pitch," the chanting and reading of sentences on the conversational and lower tones of the voice; also swelling tone under "Tone," on low pitch, using long vowels, especially oo, oh, awe, ah.

FORCE.

Force is the degree of loudness or softness we may give to the voice. You should be able to speak gently without feebleness or weakness of voice, and so as to be distinctly heard in a large hall, and also to make the fullest and loudest voice without showing any effort to do so.

1. Gentle Force.—Chant and read sentences, as under "Pitch," with the gentlest force you can, and yet make it so as to seem to be clear and distinct. Do this on every pitch you can, high or low.

2. Moderate Force.—Read and chant as above on the middle and higher tones, with about the force of earnest conversation.

3. Loud Force.—Read and chant as above, using only the middle and lower tones of the voice, making the loudest tones you can, without straining the throat. Force of voice depends on the management of the muscles below the lungs; and you should have perfect freedom from all effort on the part of lungs, throat, or mouth, on any pitch, high, middle, or low. If any effort is perceptible to you, it will be a feeling of strength and power at the waist; and experience and practice must teach you how much or how little effort to make at that point. The loudest force, and at the same time the purest quality, is secured when it seems to make itself without the slightest feeling of effort on your part.

STRESS.

Stress is the manner of applying force to a word or accented syllable. Prof. L. B. Monroe, in his book on vocal culture, enumerates six kinds. The marks he uses to represent them exhibit clearly to the eye what the voice is required to do. With radical, terminal, and compound stress, after facility is gained by use of stroke from the shoulder, omit it, and do them forcibly without movement of any part of the body.

1. Radical Stress.—So called, because the stress is on the beginning of the word, and marked thus (>). Assume standing position with active chest, and take breath; touch the fingers to the shoulder, and strike forward and downward, stopping the hands half way, and clinching the fist very tightly; at the moment of stopping, speak the vowel "ah" very shortly. You will notice that the voice issues full, and seems to suddenly vanish in a manner well indicated by the mark above. Use any vowels, long or short, with middle pitch of voice. Practise afterward without any movement of the arms.

2. Median Stress.—So called, because the force is on the middle of the word, marked thus (<>). It is the same as swelling tone, but is much shorter. Practise with long vowels on middle tones of voice, making three short swells on the same vowel in one breath.

3. Terminal Stress.—So called, because the force is on the end of the word, and marked thus (<). Use the same movement as in radical stress; begin the sound softly when the hand leaves the shoulder, stopping it suddenly as the hands clinch. The voice seems to be jerked out. Practise also without arm-movements, using the same vowels as in radical stress.

4. Thorough Stress.—So called, because the force is loud from beginning to end, and marked thus (=). Prolong about ten seconds long vowels, with a loud full voice on middle pitch.

5. Compound Stress.—So called, because it is a union of radical and terminal stress, and marked (><). The force is on both beginning and end of the word, and may be made by striking twice in succession, continuing the voice from radical to terminal without pause of voice between the strokes.

6. Tremolo Stress.—This is a trembling of voice, and marked thus (〰). Prolong long vowels, making the voice tremble while you do so.

MOVEMENT.

Movement is the degree of rapidity or slowness with which you speak the articulate sounds. The danger in fast movement is, that you will not articulate plainly; and in slow, that you will drawl.

1. Quick Movement.—Use exercise of chanting and reading sentences, as under "Pitch," using the middle tones of voice; and repeat the words with the utmost possible rapidity, with perfect articulation. In chanting, do not mind the sense; but, in reading, be particular to give the meaning of the sentence.

2. Moderate Movement.—Use exercise as above about as fast as ordinary talking.

3. Slow Movement.—Use exercise as above, with very slow movement of voice. In chanting, prolong each word about alike; in reading, give good expression, and you will see that the more important words usually take the longest time.

ARTICULATION.

Articulation is the utterance of the elementary sounds, which, when combined, make language. You have been using the sounds that make up speech, in combination, every day; but it is a good practice to make each element separately. After you are able to make each sound distinctly, you will find you can make yourself understood in a large hall without using a loud voice. Your jaw, lips, and tongue should move actively and easily. For this purpose use long vowels,—No. 1, No. 8, No. 14,—speaking them in quick succession, one after the other, making them distinct, and making the jaw and lips move as much as you can with ease. Continue to the extent of your breath. Then use the same with p, b, or m before them; then with t, d, or n; then k, g, or y. Continue this practice about five minutes at a time, until the jaw, lips, and tongue will move with perfect ease.

ELEMENTARY SOUNDS.

In the exercises here given, use the sound, not the name of the letters which represents the sound, and practise separately the sounds represented by the Italic letters below. The only correct way to learn them is from the lips of a competent teacher; but you will do well, and improve, if you try the best you can in your way.

VOWELS.

Glides.—1-14 of the vowels, and r when it follows a vowel, are by Prof. Bell called "Glides."

CONSONANTS OR ARTICULATIONS.

Of the vowels, the numbers indicate positions of mouth; and, where numbers are alike, the positions are alike. Each vowel-sound is made by unobstructed sounds issuing through a certain position of mouth. The position is unchanged with single vowels, and those have but one number. The position changes in double vowels and diphthongs; and those have two numbers,—one large, one small. As each number represents a position of mouth, you can easily see by comparing what sounds are made from combining others. The number in the largest size type of the two represents the position that is kept when the sound is prolonged: as in 8¹ prolong the 8 or ah, and make ¹ or ee very short; and in ¹14 make ¹ very short, and prolong 14. The positions represented by the small figures are called "Glides," because the position is hardly assumed before the sound is finished. Diphthongs are sounds made by combining vowel-sounds, as 8¹ ah-ee. Of the consonants, or, as well named by Prof. Bell, articulations,—because two parts of the mouth have to come together and separate in order to finish the element, thus obstructing the breath or voice,—those in line across the page with each other are alike in position of mouth; those in first column are made with breath only, passing out through the mouth; those in second column, with sound passing out through the mouth; those in third column are sound passing out through the nose. For instance, p, b, m, are in line with each other; and, if you will make the three sounds represented by those letters, you will see that the same position of mouth is assumed for each, and that p is breath forced out of mouth, b is sound out of mouth, m is sound passing out of nose.

Practise these sounds of vowels and articulations until you can make them forcibly and easily, with elastic movement of jaw, tongue, and lips; and remember that force depends on the strength and good control of muscles below the lungs. Then unite them by placing articulations before vowels, giving most force to the vowel, but make both clear and distinct. Then use articulations both before and after the vowel, still giving the vowel the most force, but making the articulation that begins and ends equally distinct and clear. To arrange these for your practice in this small book would take too much space. You have above each element of the English language clearly shown, and can easily combine them as directed.

SUMMARY OF PHYSICAL AND VOCAL GYMNASTICS.

PHYSICAL GYMNASTICS.

ATTITUDE.

1. Standing Position.
2. Speaker's"
3. Sitting Position.
4. Change"
5. Poise.
6. Rise on Toes.
7. Holding Book.

CHEST EXPANSION.

1. Active and Passive Chest.
2. Arms at Side.
3. Fore-arm Vertical.
4. Percussion. Full Arm.
5. "Hands on Chest.

BODY AND NECK MOVEMENTS.

1. Body bend forward and back.
2. ""right and left.
3. "turn""
4. Neck bend forward and back.
5. ""right and left.
6. "turn""

VOCAL GYMNASTICS.

Note.—Be sure and keep ACTIVE CHEST in all vocal exercises.

BREATHING.

1. Abdominal.
2. Costal.
3. Dorsal.
4. Puff.
5. Puff—Pause between.
6. "Breathe"
7. Holding Breath.

TONE.

Note.—In following exercises use first long, then short vowels.

1. Glottis stroke. Who, whispered, followed by short vowels quickly spoken.
2. Soft Tones. Use oo-oh-awe-ah first, then any other vowels.
3. Swell Tones. Use vowels as in Soft Tones.

PITCH.

1. Learn Musical Scale. Practise Tone Exercise on each tone within compass of voice.
2. Chant sentences on each tone.
3. Read sentences, beginning on each tone.

INFLECTION.

1. Major fall from different pitches.
2. "rise""
3. ""and fall from different pitches.
4. Minor rise and fall.
5. Circumflex, rise and fall.
6. Monotone, different pitches.

QUALITY.

1. Whisper.
2. Aspirate.
3. Pure.
4. Orotund.

FORCE.

Note.—Use exercises under Pitch, Nos. 2 and 3, with different degrees of force.

1. Gentle.
2. Moderate.
3. Loud.

STRESS.

1. Radical.
2. Median.
3. Terminal.
4. Thorough.
5. Compound.
6. Tremolo.

MOVEMENT.

Note.—Use exercises under Pitch, Nos. 2 and 3, with different rates of movement.

1. Quick.
2. Moderate.
3. Slow.

ARTICULATION.

Note.—Use only sounds represented by Italicized letters in the words and letters below.

1. Elementary Sounds.
2. Syllables.
3. Words.
4. Phrases.
5. Sentences.

Long Vowels. 1. meet. 3¹. may. 5. air. 6. her. 8. ah. 10. awe. 12¹⁴. oh. 12. ore. 14. woo.

Short Vowels. 2. it. 4. met. 5. at. 7. Cuba. 9. up. 11. on. 13. foot.

Diphthongs. 8¹. pie. 11¹. oil. 8¹⁴. out. y14. you.

Glides. 1.—14.-r.

Articulations. Lips—p, b, m-wh, w. Lips and Teeth—f, v. Teeth and Tongue—th (thin), th (then). Tip of Tongue—t, d, n-l-r-ch, j-s, z-sh, zh. Tongue—y. Back of Tongue—k, g, ng. Whispered Vowel—h.

PART THREE.
ELOCUTION.

If you have faithfully practised Parts One and Two, you have gained some control of voice, and can now begin elocution, or expression of thought and feeling. In each of the short extracts you will find some thought and feeling to express; and if you will take pains to understand thoroughly what you have to speak, and then speak earnestly as the thought and feeling prompts you, you will certainly improve. Speak to some person; and, if no one is present, imagine that there is, and talk to them: for you need never speak aloud, unless it is for some one besides yourself to hear. Your first endeavor as a speaker should be to make a pleasant quality of voice, so that you may make good listeners of your audience. The following exercises suggest pleasure, and let your voice suggest the sentiment.

PLEASANT QUALITY.

1.A merrier man,
Within the limit of becoming mirth,
I never spent an hour's talk withal:
His eye begets occasion for his wit;
For every object that the one doth catch,
The other turns to a mirth-moving jest,
Which his fair tongue (conceit's expositor)
Delivers in such apt and gracious words,
That aged ears play truant at his tales,
And younger hearings are quite ravished,
So sweet and voluble is his discourse.

2. There's something in a noble boy,
A brave, free-hearted, careless one,
With his unchecked, unbidden joy,
His dread of books, and love of fun,—
And in his clear and ready smile,
Unshaded by a thought of guile,
And unrepressed by sadness,—
Which brings me to my childhood back,
As if I trod its very track,
And felt its very gladness.

3. The scene had also its minstrels: the birds, those ministers and worshippers of Nature, were on the wing, filling the air with melody; while, like diligent little housewives, they ransacked the forest and field for materials for their housekeeping.

4. Let me play the fool:
With mirth and laughter let old wrinkles come;
And let my liver rather heat with wine
Than my heart cool with mortifying groans.
Why should a man whose blood is warm within
Sit like his grandsire, cut in alabaster?
Sleep when he wakes? and creep into the jaundice
By being peevish?

5. Across in my neighbor's window, with its drapings of satin and lace,
I see, 'neath its flowing ringlets, a baby's innocent face.
His feet, in crimson slippers, are tapping the polished glass;
And the crowd in the street look upward, and nod and smile as they pass.

6. How sweet the moonlight sleeps upon this bank!
Here will we sit, and let the sounds of music
Creep in our ears: soft stillness and the night
Become the touches of sweet harmony.
Look how the floor of heaven
Is thick inlaid with patens of bright gold!
There's not the smallest orb which thou behold'st,
But in his motion like an angel sings,
Still quiring to the young-eyed cherubim:
Such harmony is in immortal souls;
But, whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.

7. A cheerful man is pre-eminently a useful man. He knows that there is much misery, but that misery is not the rule of life. He sees that in every state people may be cheerful; the lambs skip, birds sing and fly joyously, puppies play, kittens are full of joyance, the whole air is full of careering and rejoicing insects; that everywhere the good outbalances the bad, and that every evil that there is has its compensating balm.

For other selections, see Baker's "Reading Club."

ARTICULATION.

With pleasant quality you will make listeners; but you will soon weary them, unless you make them understand by clear articulation. You have made the organs of articulation elastic by practice of elementary sounds separately and in combination. In combinations you have made syllables, and these syllables make words, words make phrases, phrases make sentences, sentences make up a discourse, address, oration, &c.

Syllables.—Every syllable contains a vowel, or its equivalent; as in the following word, which is separated by hyphens into syllables,—in-com-pre-hen-si-ble: you will hear a vowel-sound in each, the last syllable having the sound of l as an equivalent.

Words.—A word may have one or more syllables; and, when it has two or more, one of them will receive slightly more force than the others, as in the word "common." Pronounce it, and you will give more force to "com" than "mon." This force applied is called accent.

Accent.—In pronouncing words, you will notice that in the longest words, even while you make each syllable distinct, there is no perceptible pause until the word is finished. In words of two or three syllables you will find accent as above; but words of four or more syllables have one accented, and perhaps two syllables besides, that receive less force than the accented, but more than the others. Pronounce incomprehensibility. Properly done, you will hear that you give "bil" the strongest accent, and "com" and "hen" slight accent, but more than the remaining syllables, "in," "pre," "si," "i," "ty." The accent on "bil" is primary accent; and on the "com" and "hen" secondary accent.

Phrases.—Two or more words make a phrase; and a phrase gives you an idea, perhaps, needing a number of phrases to make complete sense. You should speak phrases just as you would a long word, without perceptible pause, and with more force on prominent words than others. Here is a sentence composed of two phrases: "Fear the Lord, and depart from evil." A poor reading of this would be, "Fear (pause) the Lord, (pause) and depart (pause) from evil." A good reading would be, "Fear the Lord, (pause) and depart from evil."

Emphasis.—As in words you have primary and secondary accent, so in phrases you have what is known as emphasis. In the sentence just given, the words that had most force were "Lord" and "evil;" and less force, "fear" and "depart;" and little or no force, "the," "and," and "from." You may call this primary and secondary emphasis, the primary having, as in accent, most force.

Sentences.—These phrases, or groups of words somewhat connected in idea, make sentences; and a sentence gives complete sense. As syllables make words, and in words you have an accented syllable; as words make phrases, and in phrases you have an emphatic word: so, in sentences composed of phrases, you have an important phrase; and this important phrase must be impressed upon the mind of the listener more strongly than any other. This is done by slightly added force and a trifle higher pitch; and, as you will readily see, the emphatic word of the important phrase is the emphatic word of the whole sentence. Thus you have the structure of sentences; and, if you proportion your force well, you will not fail to give the meaning correctly. In the following sentence, the phrases are separated by commas; the emphatic words are in SMALL CAPITALS; the secondarily emphatic words are in Italics. First understand what the sentence means, then speak it as you would in earnest conversation, and you will be likely to give it correctly.

"We ALL of us, in a great measure, create our own HAPPINESS, which is not half so much dependent upon SCENES and CIRCUMSTANCES as most people are apt to IMAGINE."

In this sentence the important phrase is, "create our own happiness;" and the other phrases must be and are, by a good reader, subordinated to this one. This subordination of phrases to the principal one is made by lowering the pitch slightly, and lessening the force slightly on the subordinate phrases. It is naturally done if you'll talk the sentence understandingly.

In the following sentences,—

1st, Sound each element of a word separately.

2d, Pronounce each word separately, with proper accent, being careful to give each element correctly.

3d, Read in phrases, remembering that each phrase should be pronounced as a long word, without pause, and with emphasis.

4th, Read in sentences, subordinating all other phrases to the principal phrase.

1. When sorrows come, they come not single spies,
But in battalions.

2. There's such divinity doth hedge a king,
That treason can but keep to what it would,
Act little of his will.

3. Grandfather is old. His back, also, is bent. In the street he sees crowds of men looking dreadfully young, and walking dreadfully swift. He wonders where all the old folks are. Once, when a boy, he could not find people young enough for him, and sidled up to any young stranger he met on Sundays, wondering why God made the world so old. Now he goes to Commencement to see his grandsons take their degree, and is astonished at the youth of the audience. "This is new," he says: "it did not use to be so fifty years before."

4. Press on! surmount the rocky steeps;
Climb boldly o'er the torrent's arch:
He fails alone who feebly creeps;
He wins who dares the hero's march.

5. Where I have come, great clerks have purposed
To greet me with premeditated welcomes;
Where I have seen them shiver and look pale,
Make periods in the midst of sentences,
Throttle their practised accent in their fears,
And, in conclusion, dumbly have broke off,
Not paying me a welcome, trust me, sweet,
Out of this silence yet I picked a welcome;
And in the modesty of fearful duty
I read as much as from the rattling tongue
Of saucy and audacious eloquence.

6. Be not lulled, my countrymen, with vain imaginations or idle fancies. To hope for the protection of Heaven, without doing our duty, and exerting ourselves as becomes men, is to mock the Deity. Wherefore had man his reason, if it were not to direct him? wherefore his strength, if it be not his protection? To banish folly and luxury, correct vice and immorality, and stand immovable in the freedom in which we are free indeed, is eminently the duty of each individual at this day. When this is done, we may rationally hope for an answer to our prayers—for the whole counsel of God, and the invincible armor of the Almighty.

7. The quality of mercy is not strained:
It droppeth as the gentle rain from heaven
Upon the place beneath. It is twice blessed,—
It blesseth him that gives, and him that takes.
'Tis mightiest in the mightiest: it becomes
The throned monarch better than his crown:
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings.
But mercy is above this sceptred sway:
It is enthroned in the hearts of kings;
It is an attribute to God himself;
And earthly power doth then show likest God's
When mercy seasons justice.

FULNESS AND POWER.

Fulness of voice is necessary, that, when you are speaking in a large hall, your voice may be powerful. Most persons could make themselves heard, and, with good articulation, understood; but yet they would lack power, because the voice wants fulness. The extracts given below will suggest to you the necessity of a full voice to express them well. Observe these directions in trying to get a full, energetic tone:—

1st, Correct speaker's position, take active chest, and keep it.

2d, Take full breath, breathe often, and control it. (See "Holding Breath.")

3d, Articulate perfectly.

4th, Use conversational and lower tones of the voice.

5th, Fix the mind on some distant spot, and speak as if you wished to make some one hear at that point.

6th, Remember to be very energetic, and yet have it seem to a looker-on or listener to be done without the slightest effort.

1. O'Brien's voice is hoarse with joy, as, halting, he commands,
"Fix bay'nets—charge!" Like mountain-storm rush on these fiery bands.
On Fontenoy, on Fontenoy! hark to that fierce huzza!
"Revenge! remember Limerick! dash down the Sassenagh!"
Like lions leaping at a fold when mad with hunger's pang,
Right up against the English line the Irish exiles sprang.
The English strove with desperate strength, paused, rallied, staggered, fled:
The green hill-side is matted close with dying and with dead.
On Fontenoy, on Fontenoy, like eagles in the sun,
With bloody plumes the Irish stand: the field is fought and won.

2. Thou too sail on, O Ship of State!
Sail on, O Union strong and great!
Humanity, with all its fears,
With all its hopes of future years,
Is hanging breathless on thy fate.
We know what master laid thy keel,
What workmen wrought thy ribs of steel,
Who made each mast and sail and rope,
What anvils rang, what hammers beat,
In what a forge and what a heat
Were shaped the anchors of thy hope.

3. Oh! young Lochinvar is come out of the west:
Through all the wide border his steed was the best;
And, save his good broad-sword, he weapon had none;
He rode all unarmed, and he rode all alone.
So faithful in love, and so dauntless in war,
There never was knight like the young Lochinvar.

4. One song employs all nations; and all cry,
"Worthy the Lamb, for he was slain for us!"
The dwellers in the vales and on the rocks
Shout to each other; and the mountain-tops
From distant mountains catch the flying joy;
Till, nation after nation taught the strain,
Earth rolls the rapturous hosanna round.

5. "But I defy him!—let him come!"
Down rang the massy cup,
While from its sheath the ready blade
Came flashing half way up;
And, with the black and heavy plumes
Scarce trembling on his head,
There, in his dark, carved, oaken chair,
Old Rudiger sat—dead!

6. All hail to our glorious ensign! Courage to the heart, and strength to the hand, to which in all time it shall be intrusted! May it ever wave in honor, in unsullied glory, and patriotic hope, on the dome of the capitol, on the country's stronghold, on the entented plain, on the wave-rocked topmast!

7. Rejoice, you men of Angiers! ring your bells!
King John, your king and England's, doth approach,
Commander of this hot malicious day!
Their armors that marched hence so silver bright
Hither return all gilt with Frenchmen's blood;
There stuck no plume in any English crest
That is removed by a staff of France;
Our colors do return in those same hands
That did display them when we first marched forth;
And, like a jolly troop of huntsmen, come
Our lusty English, all with purpled hands
Dyed in the dying slaughter of their foes.

INFLECTION.

Inflection is a slide of voice, either up or down in pitch, or both, on the accented syllable of a word. You have learned in previous pages what kinds there are. Major inflections express strength: minor express weakness.

Rising inflections refer to something to come that shall complete the sense. If you speak a phrase that needs another to complete its meaning, you will use a rising inflection to connect them. If you defer to another's will, opinion, or knowledge, in what you say, you will use a rising inflection. If you speak of two or more things, thinking of them as a whole, and not separately, you use a rising inflection.

Falling inflections are used when a phrase or sentence is complete in itself. If you state your own will, opinion, or knowledge, you will use falling inflection. If you speak of two or more things separately, wishing to make each one by itself distinct in the hearer's mind, you will use falling inflections.

Circumflex inflections, being composed of rising and falling inflections combined, are doubtful in meaning; for if rising means one thing, and falling means another, a combination must mean doubt. It expresses irony, sarcasm, &c.

Monotone is a varying of inflection within very narrow limits, and comes as near to chanting as the voice can, and still retain the expressiveness of inflection in speech. It expresses any slow-moving emotions, as grandeur, awe, solemnity, &c.

Practise the short extracts under each head until you are sure you give the right inflection in the right place.

MAJOR RISING INFLECTION.

1. Would the influence of the Bible, even if it were not the record of a divine revelation, be to render princes more tyrannical, or subjects more ungovernable; the rich more insolent, or the poor more disorderly? Would it make worse parents or children, husbands or wives, masters or servants, friends or neighbors?

2. But why pause here? Is so much ambition praiseworthy, and more criminal? Is it fixed in nature that the limits of this empire should be Egypt on the one hand, the Hellespont and Euxine on the other? Were not Suez and Armenia more natural limits? Or hath empire no natural limit, but is broad as the genius that can devise, and the power that can win?

3. Shine they for aught but earth,
These silent stars?
And, when they sprang to birth,
Who broke the bars
And let their radiance out
To kindle space,
When rang God's morning shout
O'er the glad race?
Are they all desolate,
These silent stars;
Hung in their spheres by fate,
Which nothing mars?
Or are they guards of God,
Shining in prayer,
On the same path they've trod
Since light was there?

MAJOR FALLING INFLECTIONS.

1. Stand up erect! Thou hast the form
And likeness of thy God: who more?
A soul as dauntless mid the storm
Of daily life, a heart as warm
And pure, as breast e'er wore.

2. Methinks I hear hither your husband's drum;
See him pluck Aufidius down by the hair,
As children from a bear, the Voices shunning him;
Methinks I see him stamp thus, and call thus,—
Come on, you cowards! you were got in fear,
Though you were born in Rome: his bloody brow
With his mailed hand then wiping, forth he goes,
Like to a harvest-man that's tasked to mow
Or all, or lose his hire.

3. Mahomet still lives in his practical and disastrous influence in the East. Napoleon still is France, and France is almost Napoleon. Martin Luther's dead dust sleeps at Wittenberg; but Martin Luther's accents still ring through the churches of Christendom. Shakspeare, Byron, and Milton, all live in their influence,—for good or evil. The apostle from his chair, the minister from his pulpit, the martyr from his flame-shroud, the statesman from his cabinet, the soldier in the field, the sailor on the deck, who all have passed away to their graves, still live in the practical deeds that they did, in the lives they lived, and in the powerful lessons that they left behind them.

MINOR RISING INFLECTIONS.

1. "Let me see him once before he dies? Let me hear his voice once more? I entreat you, let me enter."

2. Stay, lady, stay, for mercy's sake,
And hear a helpless orphan's tale!
Ah! sure my looks must pity wake:
'Tis want that makes my cheek so pale.
Yet I was once a mother's pride,
And my brave father's hope and joy;
But in the Nile's proud fight he died,
And I am now an orphan-boy.

3. They answer, "Who is God that he should hear us
While the rushing of the iron wheels is stirred?
When we sob aloud, the human creatures near us
Pass by, hearing not, or answer not a word.
Is it likely God, with angels singing round him,
Hears our weeping, any more?"

MINOR FALLING INFLECTIONS.

1. God forbid that we should outlive the love of our children! Rather let us die while their hearts are a part of our own, that our grave may be watered with their tears, and our love linked with their hopes of heaven.

2. Her suffering ended with the day;
Yet lived she at its close,
And breathed the long, long night away
In statue-like repose.

But, when the sun in all his state
Illumed the eastern skies,
She passed through glory's morning-gate,
And walked in paradise.

3. Father cardinal, I have heard you say
That we shall see and know our friends in heaven.
If that be true, I shall see my boy again;
For since the birth of Cain, the first male child,
To him that did but yesterday suspire,
There was not such a gracious creature born.
But now will canker-sorrow eat my bud,
And chase the native beauty from his cheek;
And he will look as hollow as a ghost,
As dim and meagre as an ague's fit:
And so he'll die; and, rising so again,
When I shall meet him in the court of heaven
I shall not know him: therefore never, never
Must I behold my pretty Arthur more.

CIRCUMFLEX INFLECTION.

1. Were I in England now (as once I was), and had but this fish painted, not a holiday-fool there but would give a piece of silver. There would this monster make a man: any strange beast there makes a man. When they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian.