The practical elocutionist, and academical reader and speaker; designed for the use of colleges, academies and high schools

Front matter

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Preface

The very favorable reception my " Shakspeakian Reader" has met with from the press and the public, has induced me to meet another want in our stock of Educational Literature, the deficiency of which has, I believe, been as generally experienced by teachers, as was the necessity for a revised text of Shakspeare, for the use of schools.

My chief design in this work is, to furnish a collection of examples for elocutionary practice, suited for advanced students, and adapted to the growing intelligence and improved taste of the age ; for the onward movement of the " March of Intellect" has reached the seclusion of the school-room and the retirement of the college, creating wants in the youthful mind which must be supplied.

The greater proportion of the extracts in this compilation have never before been incorporated into any similar work; and there is scarcely an eminent name in modern literature that is not represented by some acknowledged "gem" of composition. Our standard authors have also been freely drawn upon ; and long- established favorite piexii PREFACE,

ces have been retained ; for such have become stereotyped, as it were, in the affections of the young.

Care has been taken to furnish striking illustrations of every variety of elocutionary expression. The examples intended for oratorical exercise, and poetical recitation, are unusually rich, new and varied ; and especial attention has been paid to selections exclusively adapted for reading lessons.

I have taken infinite pains to make the whole of the selections conducive to the development of sound patriotism, and a healthy, manly tone of feeling and sentiment. I have likewise endeavored to furnish to the youthful student a species of intellectual vocabulary, for the suggestion of ideas on topics of leading and general interest.

To a work so strictly practical in its design, it has been considered proper to append an equally practical system of elocution. For this purpose I have embodied, as clearly as it could be done in writing, the principles which govern my mode of elocutionary instruction.

I have sought to divest this art of much of its artificial character, substituting a close analytical dissection of the sense and construction of language as the basis of the study, instead of adhering to arbitrary and mechanical rules, retaining only so many of the latter as are absolutely essential.

By this process of instruction, the pupil is simply aided in following out the promptings of nature, by the exercise and consequent development of the perceptive faculties ; and

PREFACE. xiii

the vocal organs assume their due function, and acquire their full powers by constant practice, upon principles that are regulated by feeling, earnestness and thought.

To those who may entertain doubts of the efficiency of this mode of elocutionary instruction, I can only reply by referring to the results of a course of fifteen years' extensive practice in this city, as proofs that this system has been tested by time, experience, the approbation of the intelligent, and the satisfactory fruits it has produced.

New York, August 1, 1849.

PART. FIRST. Page

Introduction. - - - - - - -23

The True Basis of the Art. - - - - 23

Analysis of Language. ... - . - 26

Articulation. - - - - - - - 2*7

Part Second. Examples For A Course Of Practice In Reading And Declamation

The Scholar's Mission. — Rev. George Putnam. - - 37

The Value of Classical Studies. — Judge Story. 38

Ancient and Modern Eloquence. — John Q. Adams. - - 40

Poetry. — Channing. - - - - - - 41

The Youthful Visionary.— Scott. - - - - - 43

The Blind Preacher.— Wirt. - - - - - 44

Immortality. — Dana. - - - - - - 46

Influence of Great Actions. — Webster. - - . - - 47

Public Virtue.— IT. Clay. - - - 49

The Dying Alchymist.— N. P. Willis. 60

New Netherlands and New York. — Bancroft. - - 62

CONTENTS.

American History. — Verplanck. - The American Forest Girl. — Hemans. -

Liberty and Greatness. — Legare. -

Character of Washington. — Fisher Ames. - Nature's Gentleman. — Eliza Cook. - -

Discovery and Conquest of America. — James Montgomery. - Columbus at Barcelona, on his return from the Discovery of America. — Washington Irving. - - - - The Voices of History. — R. Monckton- Milnes. The Present Age. — Channing. - - - -*'-*.■* Literature and Liberty. — Edward Everett. - Excelsior. — Longfellow. - - Discretionary Powers of Congress. — W. Pinkney. - The Prisoner of Chillon. — Byron. - - The Flying Head.— C. F. Hoffman. - Liberty and Prerogative. — Webster. - Antiquity of Freedom. — Bryant.

Mariana. — Alfred Tennyson. - Importance of Preserving the Union. — Webster. Need of a National Literature. — Whipple. The Leper— AT". P. Willis. - The Cricket on the Hearth. — Dickens. - The Spirit of Poetry. — Longfellow. - The Murder.— J?. H. Dana.

Niagara. — S. Margaret Fuller.

Claims of Literature upon America. — A. H. Everett. Mazeppa. — Byron. - The Guardian Angel. — Lamartine. - Seventh Plague of Egypt. — Anonymous.

The Minstrel Girl.— Whittier. - National Self-respect. — Beman. - The War of 1812.— John C. Calhoun. -

CONTENTS. xvii

Page.

Death of Marmion.— £coft. - - - - - -119

Queen Mab. — Shakspeare. - - - - - 121

Character of Byron. — Macaulay. - - -- - - 122

The Dying Gladiator. — Byron. - - - - 125

Mont Blanc from the Col de Balme.— G. B. Cheever. - - 126

The Hurricane.— Audubon. - - - - - 128

Araby's Daughter. — Moore. - - - - - 131

A Picture.— Shelley. - - - - - 132

The Whip-poor-will.— G. P. Morris. - . - - - 133

The Pilgrims. — Mrs. Sigourney. - - - - - 135

The Settlement of Plymouth.— Webster. - - - - 136

The Pilgrims of the Mayflower.— Edward Everett. - - 138

Duties of American Citizens. — LeviVfoodbury. - - - 139

The Dream of Eugene Aram. — T. Hood. ... 141

Siege of Torquilstone. — Scott. - - - - 145

The Arsenal. — Longfellow. - - - - - 151

Compromise Bill of 1833.— H. Clay. - - - - 152

Adams and Jefferson. — E. Everett. - 154

Parties and Party Men. — William Gaston. - - - - 15*7

The Prairie on Fire. — Cooper. - - - - 158

Chamouny. — Coleridge. - - - - - - 163

Genius "Waking. — Percival. - - - - 164

Homes and Graves.— T % K. Hervey. - - - - 166

The Boarding-House . — Dickens. - - - - 168

The Lights and Shadows of Genius — Youth. — Original. - - 11 7

« " " Manhood.— Original. - 179

Public Faith the Basis of National Honor. — F. Ames. - - 181

Human Progress. — Chapin. - - - - , -., 182

Extension of the Republic— Edward Everett. - - - 184

The Skylark. — James Hogg. - - - - - 186

To an Egyptian Mummy. — Horace Smith. - - - 187

Beauty. — Ralph W. Emerson. - - - - - 188

CONTENTS.

Page.

Science and Literature of America. — Judge Story. - - - 190

Aristocracy. — 3frs. KirJcland. ----- 191

Seven Ages of Man. — Shakspeare. ----- 194

The Theatre.— Charming. - - - - - 195

American Patriotism. — Webster. ---."" 196

Trial of Warren Hastings. — Macaulay. - - - 19?

God's First Temples.— Bryant. - - - - 200

Vision of Belshazzar. — Byron. - - - - - 202

The Student.— Elizabeth B. Barrett. ... - 203

The Moral Dignity of Missionary Enterprise. — President Wayland. 205

A Youthful Poet contemplating Nature. — Wordsworth. - - 207

The Passions.— Coffin*. ------ 208

Alaric the Visigoth. — Edward Everett. - 210

National Compact. — Gouverneur Morris. - 212

The Future Destiny of America — G. S. Hillard. - - - 213

Lazy People. — Mrs. KirJcland. ----- 215

Quarrel of Brutus and Cassius. — Shakspeare. - - - 216

Damon and Pythias. — William Peter. - - - - 219

Adventure.— Tupper. - - - - - - 222

The Freedom of the Press. — Judge Story. ... 223

Highland Snow-Storm. — Professor Wilson. - • - - 224

The Influence of Woman in Free Governments. — Webster. - 232

Our Government a System of Checks. — Gouverneur Morris. - 234

The Shipwreck. — Byron. - - - - - 235

Prometheus Bound. — uEsehylus. - - - - - 237

Washington.— Eliza Cook. . - - - - - 239

Primitive Habits of New Amsterdam. — W. Irving. - - 240

The Patriot's Hope for Ireland. — Rev. Henry Giles. - - 242

Glory. — President Wayland. ----- 244

The Age of Revolutions. — Edward Everett. . - - - 246

Belshazzar.— Croly. - - - - - - 247

CONTENTS, xix

The Men of Old.— H. Monckton Milnes.

The Battle of Ivry. — Macaulay. -

Robin Hood. — Scott.

Oliver Twist. — Dickens. -

American and European Interests.— Webster.

Death of the Flowers. — Bryant. - -

The Power of Legal Eloquence. — Original.

A Tale of Terror. — Paul Louis Courier.

The Chariot Eace. — Sophocles.

The Convict Ship.— T. K. Hervey.

Europe and America, — Webster.

Brutus's Oration. — Shakspeare. -

Mark Antony's Oration. — Shakspeare.

The Literature of the Age of Elizabeth. — Hazlitt.

A Romance about Milton. — Sir William Jones.

Thanatopsis. — Bryant. - -

The Tragedy of the Pyrenees. — R. Monckton Milnes.

The Murder and the Murderer's Doom. — Webster.

Avalanches of the Jungfrau. — Gf. B. Cheever.

Nature's Nobleman. — Tapper. -

Abou Ben Adhem. — Leigh Hunt.

The Universal Hymn of Nature. — Thomson.

Excellence the Reward of Labor. — Wirt.

Christianity the True Source of Reform. — Chapin.

The Destruction of the Philistines. — Milton.

The Day of Judgment. — Jeremy Taylor.

Bernardo Del Carpio. — Hemans.

Story of Le Fevre. — Sterne. - - -

Our Treatment of the Indians. — H. Clay. -

Napoleon Bonaparte. — Phillips.

What is Glory ? "What is Fame ? — Motherwell.

The Miserere at Rome.—/ T. Headley.

XX

CONTENTS.

Page.

A Fragment. — Frances Kemble Butler. • - - - 310

Acts of the American Revolution. — Jared Sparks. - - 311

March of Bernardo Del Carpio.— Spanish Ballads. - - 313

The Progress of Scientific Art. — Webster. - - - 314

Extract from Faustus. — Goethe. - - - - - 3J5

Where should the Scholar live ? — Longfellow. - 317

A Legend of the Rhine. — Victor Hugo. .... 318

The Last Evening before Eternity. — Hillhouse. - ... 325

Unwritten Music— N. P. Willis. ----- 326

The Brothers Cheery ble. — Dickens. - - - - . 329

On the Necessity of Union in the Republic. — H. Clay. - - 340

Picture of an Irish Village and School-house.— William Carleton. 341

Accomplishments of Hudibras. — Butler. - - - - 345

Tribute to the Universal Genius of Shakspeare. — Francis Jeffrey. 847 The Pioneer. — Brainard. - --- - - -349

Character of Franklin. — Bancroft. - 350

Song of the Bell— Schiller. - - - - - - 351

Our Domestic Resources. — H. Clay. - 360

The Fallen Leaves.— Mrs. Norton. - - - - - 361

A Rill from the Town Pump. — Hawthorne, - - - - 364

Rienzi's Address to the Romans. — Miss Mitford. . . 369

Address to Poets.— Keble. - - - - - 370

The Last Man.— Campbell. - - - - - 371

The Protective Policy.— H. Clay. - - - - - 378

Mr. Pickwick in a Dilemma. — Dickens. - - - - 375

DRAMATIC DIALOGUES.

Brutus and Cassius, on the Conspiracy against Csesar. — Shakspeare. 379

The Death of Ion.— Talfourd. 383

Scene from the Honey-Moon. — Tobin. - 387

Hotspur and Glendower.— Shakspeare. - 392

CONTENTS. xxi

Page

Scene from the Iron Chest. — Colman. .... 393

Scene from Old Heads and Young Hearts.— Borcicault. - 398

Trial Scene from Merchant of Venice. — ShaJcspeare. - - 402

Scene from the Elder Brother. — Beaumont and Fletcher. - 412

Scene from "Werner. — Byron. - - - . - - 414

Scene from the Poor Gentleman. — Colman. - - - 41*7

Scene from Douglass. — Home. . - - - - - 422

Scene from Money. — Bulwer. - - - - - 425

THE

PRACTICAL ELOCUTIONIST.

Introduction

THE TRUE BASIS OF THE ART.

There is a Philosophy in Elocution, which if it were thoroughly understood and carried out by instructors and students, would divest the art of most of the superfluous Mechanical Rules, now considered by many as imperative adjuncts in their systems of Elocutionary Instruction ; and although I readily yield my tribute of respect to the learning and talent these originators and compilers of elaborated systems of Elocution have exhibited, as the fruits of their labors, yet a long course of practical experience has convinced me, that we have arrived at a period when mere artificial and complicated systems of Elocution do not meet the wants of our age.

To England and America, more particularly, will this observation apply. There is a matter-of-fact practical intelligence abroad in these countries, which discards all xxir - INTRODUCTION".

appearance of " artificial and studied graces " in oratory. Men are now dealing with realities, and the public speaker who exhibits the palpable artificial training of systems, instead of the earnestness, the intensity, and the natural impulses of the heart, will assuredly fail in his efforts, however graceful and finished may be his delivery.

A strictly practical system of Elocution is required for the student of the present day ; one that shall be direct in its application and easy of attainment ; or rather the pupil should be directed to the true principles which alone govern the art, rather than to any arbitrary system which elevates mechanical rules above the promptings of nature, and the operations of the mind. The strictly essential rules are so few, and so easy to be acquired, under proper instructors, that Elocution should be viewed as an ^Esthetic, rather than a Mechanic art. It is upon this all-important distinction that the basis of the art is founded.

Let the attention of the pupil be first directed to a careful analytical dissection of the construction and meaning of language, even to the minutest varieties of thought and expression of which words are the conveyancers ; and then let the mind be impressed with the important truth that in oral communication, either in reading or speaking, there must be an embodying for m, or representative power used, called " Elocutionary expression," by which every shade of thought and feeling is expressed by a natural and appropriate shade of sound, giving to language a species of vitality by which words become literally the exponents of

INTRODUCTION. xxv

thought, and the whole secret of elocutionary art is comprehended at a glance.

Now this very palpable, practical and easy method, for acquiring an accomplished and expressive mode of delivery, seems not to require the aid of rules or instructors to effect, and yet our every- day experience teaches us that many educated and intelligent persons fail in giving proper expression to language, when called upon to read or speak.

A long course of professional practice enables me, I think satisfactorily, to solve this apparent anomaly. The analysis of language, with especial reference to its elocutionary expression, is seldom thought of. Hence the faulty elocution we so frequently witness, where we might reasonably look for earnest and impressive delivery ; add to this the defects and mannerisms, natural and acquired, and we have the key to most of the causes which operate in producing the imperfect and false styles of elocution much in vogue among us.

We require to be brought back to the great teacher, Nature ; and we stand in need of capable instructors to aid us in correcting our defects. There are also certain essential rules of the art necessary to be known, and there is labor and practice to be undergone, before we can arrive at any perfection in the art. It is impossible, in any written system of elocutionary instruction, to convey fully to the mind of the pupil all the points necessary for his attention. Even the most elaborate systems of instruction in this art 2

INTRODUCTION.

fail to meet all the exigencies that occur in a course of elocutionary practice ; yet most of the essential rules may be condensed into a brief practical form, capable of affording important aids to any intelligent student. These I have endeavored to collect into a narrow compass, digested in a natural order, and trust that they will prove valuable hints for the direction of the inexperienced and unpractised student,

ANALYSIS OF LANGUAGE,

WITH REFERENCE TO ELOCUTIONARY EXPRESSION.

Passing over the grammatical construction of language^ which is more immediately the province of Rhetoric, I would direct the attention of the pupil to the consideration that there is u a language of emotions and passions, as well as a language of ideas/' and that this language is uniformly taught by Nature. It is the essential part of Elocution to imitate this language of nature, in our delivery. Words and sentences must be analyzed in our practice, with direct reference to this expression ; tones, looks and gestures must be used in accordance with the emotions, passions and sentiments we are called upon to convey. A daily practice of varied selections from standard authors, upon these principles, would alone make a respectable speaker, for the perceptive faculties would gradually become quickened, the taste would impercepti-

INTRODUCTION. xxv ii

bly be cultivated, the vocal organs would assume a capable and efficient power of modulation and expression, and all this would be achieved without the aid of elaborated artificial rules, which too frequently level down the minds of pupils to one Procrustean bed, irrespective of difference of temperament, habits, or feeling.

I am speaking of the effects this practice may produce on matured and educated persons ; with the young a more systematic course of instruction must of course be adopted.

In this analytical process the intellectual faculties of the pupil must never lie dormant. The meaning and expression of language must be grappled with hooks of steel, and every aid that education can afford must be brought to bear on our labors ; we must understand to feel, and expression will surely follow ; and then to acquire a finish and perfectness of delivery, long, continuous and laborious practice will be necessary.

The following auxiliary, but subordinate Rules, should be committed to memory, to assist the pupil in the mere artistical departments of the study.

ARTICULATION.

Articulation now forms a very prominent branch of elementary study in every respectable school 5 I need not, xxviii INTRODUCTION.

therefore, occupy much space in this work to the illustration of its principles, farther than to show their practical application in the acquirement of elocutionary expression.

Articulation is justly considered one of the most indispensable requisites in delivery. A public speaker possessed of only a moderate voice, will not fail to impress an audience, if he has acquired a correct and distinct articulation.

The chief points to be attended to in the study of this branch of elocution, are the giving to every letter its due proportion of sound, and to render a distinct syllabication of words.

Practice on the prolonged sounds of vowels, vocal consonants and liquids, will be found extremely beneficial to the elocutionary student. He will acquire ease, force and precision, and the organs of the voice will also be developed in the course of practice, taking especial care to use an energetic expulsion of the breath directly from the chest.*

Pronunciation belongs to this department of Elocution. Standard authorities must be taken as the recognized guides in this branch of the art. Where a choice is left to the student, I conceive that the public speaker should always adopt that pronunciation which sounds the most euphonious on the ear.

* On the management of the voice, Dr. Rush, " On the Philosophy of the Vocal Organs," and Mr. Murdock's " Orthophony ; or Vocal Culture in Elocution," may be consulted as standard authorities.

INTRODUCTION. xxix

INFLECTION.

" Inflection is simply a bending or sliding of the voice upwards or downwards. There are two inflections ; the one called the Upward, or Rising Inflection ; the other, the Downward, or Falling Inflection."

Unimportant as this branch of the art may at first appear, it is nevertheless essentially necessary to be thoroughly understood, connected as it is with the use of pauses, and being also one of the means whereby we convey to the hearer a distinct perception of the construction and meaning of language.

Inflection, in its positive sense, shows by the rising inflection, that the sense or meaning of the sentence is suspended ; and by the falling inflection, that the sense is completed, as

Age,' that lessens the enjoyment of life/ increases our desire of living.'

In a series of particulars, the rising inflection is used until the final clause of the series — when the falling indicates the close.

When a series begins a sentence, but does not end it, this rule is broken ; the last clause of the series then takes the suspending pause, with a greater degree of inflection, as for example :

Finally,' brethren,' whatsoever things are true/ whatsoever xxx INTRODUCTION.

things are honest/ whatsoever things are just/ whatsoever things are pure/ whatsoever things are of good report ;" if there be any virtue/ and if there be any praise/' think of these things/

In a concluding series, the one preceding the last particular requires a greater degree of the rising inflection, to designate that the next particular will finish the series.

Note. — All series should be read with an increased expression of the voice, and a more prominent inflection on every particular.

Clauses of sentences which form complete sense, should end with a moderated falling inflection.

Negative sentences, and negative members of sentences, take the rising inflection. When a series of negative sentences concludes a paragraph, the last member of the series takes the falling inflection.

A concession, or admission, takes the rising inflection.

Note. — The use of the rising inflection, in negative sentences, is of great importance.

Negative sentiment falls comparatively powerless on the hearer, unless given with a strong rising inflection.

When the negative is opposed to the affirmative, the former takes the rising, the latter the falling. Unequal antitheses, or contrasts, are governed by the same principle. In the latter the less important member takes the rising, and the preponderating one the falling inflection.

INTRODUCTION. XXXi

Emphatic negation takes the falling inflection.

Questions which can be answered by Yes, or No, or commencing with a verb, terminate with the rising inflection.

Emphasis breaks through this rule.

When a question commences with an interrogative adverb or pronoun, it ends with the falling inflection.

In a long series of questions, terminating a paragraph, the last member may take the falling inflection.

Exclamations of joy and surprise take the rising ; fear, anger, scorn, grief, and awe, the falling inflection.

Note. — It will be necessary for the pupil to practise on the slides from the rising to the falling inflection, so as to be able to inflect with ease, and in a full sonorous voice, divested of all angularity or abruptness.

EMPHASIS.

By emphasis is meant that stronger, fuller sound of the voice, by which in reading, or speaking, we distinguish the accented syllable of words on which we design to throw particular stress, in order to show how they affect the rest of the sentence.

It is obvious that on the right management of Emphasis depends the whole life and spirit of delivery : for false emphasis perverts and confounds the meaning of language ; feeble and unimpressive emphasis is ineffective, and emxxxii INTRODUCTION.

phasis overdone and overcharged is repulsive to good taste and sound judgment.

Elocutionists have described emphasis as being either " absolute " or " relative," the first confined to the utterance of a single thought or feeling of decided expression ; the latter in connection, or opposition of two or more ideas.

Exclamations and interjections usually require impassioned or absolute emphasis. " Every new incident in narration," each particular object in description, and each new subject in didactic passages, require to be marked with distinctive emphatic stress sufficient to render them striking or prominent.

Corresponding and antithetical words should be emphatically marked in the delivery : when contrasted or compared, the objects of greater importance should be given with a stronger emphatic expression.

When great force is desired in the delivery of a particular phrase, every word, and even the parts of compound words, are given with emphatic expression.

A climax should be rendered, with the voice gradually ascending in expression until the close.

An anti-climax decreases in energy as it proceeds, the last member taking the falling inflection.

Repetition requires high rising inflection, acquiring fresh intensity from the iteration.

Circumflex, or Wave, is a species of emphasis which combines the rising and falling inflection on the same word.

INTRODUCTION. xxxiii

It is used in the tones of mockery, sarcasm and irony, and to mark a peculiar or a double meaning.

Monotone, is the continuous flow of sound, unvaried by inflection. Sublimity, awe, reverence, amazement and horror, are governed by the monotone.

Note. — The above rules may assist the speaker or reader in the management of emphasis, but the chief rule is the process of intellectual analysis, by which we are enabled thoroughly to understand, discriminate and to feel, the delicacies and the spirit of language.

We then distinguish the relative bearing of words to each other, and mark their direct connection or opposition.

MODULATION.

Modulation is the giving to each tone of the voice its appropriate character and expression.

This all-important branch of elocution cannot be taught by arbitrary rules,

The modulation of the voice in the expression of emotion or passion, must be prompted by nature, to. become intelligible and effective in the delivery. Anger, fear, joy, grief, love, or any other passion, naturally suggest appropriate tones, and the necessary varied modulation of the voice will follow when we feel these passions or emotions. The use of modulation is not confined to the more vehement passions ; some kind of feeling or expression accompanies all language, and this feeling has its proper expression.

xxxiv INTRODUCTION.

The mind must be disciplined to a keen perception of the sense, the force and the beauty of language, and the whole soul must be attuned, as it were, to the embodiment of every shade that occurs in the delineation of passion or emotion.

The speaker or reader who does not acquire this varied and expressive modulation of the voice, will fail to produce due impression upon his auditors, however correct may be his articulation, inflection and emphatic stresses.

Monotony is a fault always held unpardonable in a speaker, for it invariably excites impatience and disgust.

Practice on examples embracing varieties of expression, will enable the speaker to attain correct modulation, and if this exercise is conducted under the supervision and instruction of an able teacher, the attainment of the qualification becomes more rapid and satisfactory. A good model in this branch of elocutionary study seems almost indispensable.

With modulation, changes of tone and changes in delivery are connected. In the commencement of a new sentence generally, and frequently in the same sentence, a marked variety of tone is essential. " Opposition, variety, modification of the sense, interruption of the thought, whether in one sentence or in separate sentences, produce a change of key."

Passionate composition requires more frequent changes of the key, than argument.

The great fundamental rule for all modulation, is to throw ourselves with perfect sincerity into the character of

INTRODUCTION. xxxv

the language ; be earnest, forcible and expressive, and we shall persuade or convince at will. Imitative modulation is a great power in the hands of a skillful speaker or reader. Not only may we convey to our hearers, in reading especially, our own feelings of the beauty and force of language, by a corresponding* tone and modulation, but even particular words acquire a double force of expression by the' use of imitative modulation, presenting to the mind of the hearer a succession of pictures descriptive of the sense, simply by tones. In poetical reading and recitation, the use of imitative modulation is peculiarly striking. We embody, as it were, the descriptions created by the author, vividly and palpably to the hearer.

GESTURE.

Gesticulation should not be left only to the impulse of the speaker, at the moment of delivery. Feeling will doubtless suggest appropriate action, when that feeling is regulated by a cultivated and refined taste. Yet good models may be consulted with advantage, and a few general principles may be applied, for the acquirement of easy and graceful action.

Theatrical and overstrained action should be avoided.

Allow the limbs to fall gracefully, and without strain, into easy attitudes, taking care that all the motions of the arms proceed directly from the shoulders — not curved from

INTRODUCTION.

the hips. Avoid all angularity of action. Stand firm, with the chest expanded and the head erect, and even in the strongest efforts of passionate declamation you will avoid ungraceful and overstrained action.

The foregoing compilation of general rules may serve to aid the intelligent student in acquiring a natural style of Elocution. They are, however, but aids, or auxiliaries. No written rules can make an accomplished orator or reader. By observing the manner in which the several passions and feelings are expressed in real life, by acquiring the faculty of imitating these expressions in the delivery of selected passages, and above all by the cultivation of our perceptive faculties, with direct reference to elocutionary expression — these are the certain methods by which a natural, graceful and impressive mode of delivery is to be acquired.