Class-book in oratory. A complete drill book for practice of the 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 ...

Front matter

Twenty Years of Eminent Success

What they say of the Lectures and Readings of

PROF. ALLEN AYRAULT GRIFFITH.

Contents

DRILL EXERCISES.

PAGE,

Definitions, 13

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

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

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

CONTENTS.

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 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. Griffith, 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, without 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 recitation, he may practice gesture and vocalization. Having practiced the positions, proceed to the fifteen systematic gestures 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, after the teacher, by number, then by the use of the vowel elements, 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 turning until the student can come to rest in the proper position. The teacher will discourage all mannerism, affectation, or strutting. 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 understand an author himself before he can make another understand; 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 Eloquence. 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.

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 respiration. 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 principal 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 speaking :

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 advanced, right knee bent.

FIRST POSITION.

SECOND POSITION.

We have two other positions, which are called Secondary. They are assumed in argument, appeal, or persuasion. The first secondary position is taken from the first primary, by advancing the unoccupied 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 expressiveness.

Either arm may move with grace to the extent of half a circle, vertically 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, downwards ; 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

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