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THE CANADIAN ELOCUTIONIST
DESIGNED FOR THE USE OF
Colleges, Schools and for Self Instruction
TOGETHER WITH A COPIOUS SELECTION,
_IN PROSE AND POETRY, OF_
PIECES ADAPTED FOR READING, RECITATION AND PRACTICE
BY
ANNA K. HOWARD, LL.B.,
[MISS ANNA HALLECK KELSEY].
Teacher of Elocution and English Literature.
"The manner of speaking is as important as the matter."--CHESTERFIELD.
PREFACE.
The principal object the author had in view in the preparation of this
work, was to place in convenient form for the use, both of teachers and
others, the principles, rules, illustrations and exercises, that she has
found most useful and practical for the purpose of instruction, and best
calculated to make good readers, and easy, graceful and correct speakers.
For this purpose the rules and advices have been simplified and divested,
as much as possible, of all abstruse scientific terms, and made as simple
and plain as could be done, having a due regard to the proper explanations
requisite to make them easy to understand and not difficult to practise.
It is hoped that this system of instruction, which has been for some years
very successfully employed by the compiler in her own practice, may prove a
valuable aid to those who wish to pursue the study of the art.
The examples chosen to illustrate the rules have been taken with a due
regard to their fitness to exemplify the principles involved, and to show
the various styles of reading, declamation and oratory, and the selections
have been made in such a manner as to adapt them for use in schools,
colleges and for public reading.
TORONTO, _September_ 24_th_, 1885.
INTRODUCTION.
Of the importance of the study of Elocution as part of a good education
there can be no question. Almost every one is liable to be called upon,
perhaps at a few minutes notice, to explain his views and give his opinions
on subjects of various degrees of importance, and to do so with effect ease
in speaking is most requisite. Ease implies knowledge, and address in
speaking is highly ornamental as well as useful even in private life.
The art of Elocution held a prominent place in ancient education, but has
been greatly neglected in modern times, except by a few persons--whose fame
as speakers and orators is a sufficient proof of the value and necessity of
the study. The Ancients--particularly the Greeks and the Romans--were fully
conscious of the benefits resulting from a close attention to and the
practice of such rules as are fitted to advance the orator in his
profession, and their schools of oratory were attended by all classes; nor
were their greatest orators ashamed to acknowledge their indebtedness to
their training in the art for a large portion of their success. The Welsh
Triads say "Many are the friends of the golden tongue," and, how many a
jury has thought a speaker's arguments without force because his manner was
so, and have found a verdict, against law and against evidence, because
they had been charmed into delusion by the potent fascination of some
gifted orator.
As Quintilian remarks: "A proof of the importance of delivery may be drawn
from the additional force which the actors give to what is written by the
best poets; so that what we hear pronounced by them gives infinitely more
pleasure than when we only read it. I think, I may affirm that a very
indifferent speech, well set off by the speaker, will have a greater effect
than the best, if destitute of that advantage;" and Henry Irving, in a
recent article, says: "In the practice of acting, a most important point is
the study of elocution; and, in elocution one great difficulty is the use
of sufficient force to be generally heard without being unnaturally loud,
and without acquiring a stilted delivery. I never knew an actor who brought
the art of elocution to greater perfection than the late Charles Mathews,
whose utterance on the stage was so natural, that one was surprised to find
when near him that he was really speaking in a very loud key." Such are
some of the testimonies to the value of this art.
Many persons object to the study of elocution because they do not expect to
become professional readers or public speakers, but surely this is a great
mistake, and they might as well object to the study of literature because
they do not expect to become an author; and still more mischievous in its
results is the fallacy, only too current even among persons of
intelligence, that those who display great and successful oratorical
powers, possess a genius or faculty that is the gift of nature, and which
it would be in vain to endeavour to acquire by practice, as if orators
"were born, not made," as is said of poets.
The art of reading well is one of those rare accomplishments which all wish
to possess, a few think they have, while others who see and believe that it
is not the unacquired gift of genius, labour to obtain it, and it will be
found that excellence in this, as in everything else of value, is the
result of well-directed effort, and the reward of unremitting industry. A
thorough knowledge of the principles of any art will enable a student to
achieve perfection in it, so in elocution he may add new beauties to his
own style of reading and speaking however excellent they may be naturally.
But it is often said "Our greatest orators were not trained." But is this
true? How are we to know how much and how laborious was the preliminary
training each effort of these great orators cost them, before their
eloquence thrilled through the listening crowds? As Henry Ward Beecher
says: "If you go to the land which has been irradiated by parliamentary
eloquence; if you go to the people of Great Britain; if you go to the great
men in ancient times; if you go to the illustrious names that every one
recalls--Demosthenes and Cicero--they all represent a life of work. You
will not find one great sculptor, nor one great architect, nor one eminent
man in any department of art, whose greatness, if you inquire, you will not
find to be the fruit of study, and of the evolution which comes from
study." So much for the importance of Elocution and the advantages of
acquiring a proficiency therein.
A few remarks to those who are ambitious of excelling in the art may now be
given, showing how they may best proceed in improving themselves therein.
The following rules are worthy of strict attention:--1. Let your
articulation be distinct and deliberate. 2. Let your pronunciation be bold
and forcible. 3. Acquire a compass and variety in the height of your voice.
4. Pronounce your words with propriety and elegance. 5. Pronounce every
word consisting of more than one syllable with its proper accent. 6. In
every sentence distinguish the more significant words by a natural,
forcible and varied emphasis. 7. Acquire a just variety of pause and
cadence. 8. Accompany the emotions and passions which your words express,
by corresponding tones, looks and gestures.
To follow nature is the fundamental rule in oratory, without regard to
which, all other rules will only produce affected declamation not just
elocution. Learn to speak slowly and deliberately, almost all persons who
have not studied the art have a habit of uttering their words too rapidly.
It should be borne in mind that the higher degrees of excellence in
elocution are to be gained, not by reading much, but by pronouncing what is
read with a strict regard to the nature of the subject, the structure of
the sentences, the turn of the sentiment, and a correct and judicious
application of the rules of the science. It is an essential qualification
of a good speaker to be able to alter the height as well as the strength
and the tone of his voice as occasion requires, so accustom yourself to
pitch your voice in different keys, from the highest to the lowest; but
this subject is of such a nature that it is difficult to give rules for all
the inflections of the voice, and it is almost, if not quite impossible to
teach gesture by written instructions; a few lessons from a good and
experienced teacher will do more to give a pupil ease, grace, and force of
action than all the books and diagrams in the world. Action is important to
the orator, and changes of action must accord with the language; the lower
the language the slower should be the movements and _vice versa_,
observing Shakespeare's rule: "Suit the action to the word, the word to the
action, with this special observance--that you o'erstep not the modesty of
nature." Study repose, without it, both in speech and action, the ears,
eyes, and minds of the audience, and the powers of the speaker are alike
fatigued; follow nature, consider how she teaches you to utter any
sentiment or feeling of your heart. Whether you speak in a private room or
in a great assembly, remember that you still speak, and speak
_naturally_. Conventional tones and action have been the ruin of
delivery in the pulpit, the senate, at the bar, and on the platform.
All public speaking, but especially acting and reciting, must be heightened
a little above ordinary nature, the pauses longer and more frequent, the
tones weightier, the action more forcible, and the expression more highly
coloured. Speaking from memory admits of the application of every possible
element of effectiveness, rhetorical and elocutionary, and in the delivery
of a few great actors the highest excellence in this art has been
exemplified. But speaking from memory requires the most minute and careful
study, as well as high elocutionary ability, to guard the speaker against a
merely mechanical utterance. Read in the same manner you would speak, as if
the matter were your own original sentiments uttered directly from the
heart. Action should not be used in ordinary reading.
Endeavour to learn something from every one, either by imitating, but not
servilely, what is good, or avoiding what is bad. Before speaking in public
collect your thoughts and calm yourself, avoiding all hurry. Be punctual
with your audience, an apology for being late is the worst prologue.
Leave off before your hearers become tired, it is better for you that they
should think your speech too short than too long.
Let everything be carefully finished, well-polished, and perfect. Many of
the greatest effects in all arts have been the results of long and patient
study and hard work, however simple and spontaneous they may have appeared
to be.
Remember, that the highest art is to conceal art, that attention to trifles
makes perfection, and that perfection is no trifle.
CONTENTS
PART I.
I.--PHYSICAL CULTURE.
Calisthenics
Walking
Sitting
Kneeling
II.--BREATHING EXERCISES.
Directions for Breathing
III.--ARTICULATION.
Articulation
IV.--ELEMENTARY SOUNDS, ETC.
Elements
Pronunciation and Accent
V.--QUALITIES OF VOICE.
I. Pure
II. Orotund
III. Guttural
IV. Tremor
V. Aspirate
VI. Falsetto
VI.--FORCE.
I. DEGREES.
I. Gentle
II. Moderate
III. Heavy
II. VARIATIONS OF FORCE, OR STRESS.
I. Radical
II. Median
III. Vanishing
IV. Compound
V. Thorough
VI. Semitone
VII. Monotone
VII.--TIME.
I. Moderate
II. Quick
III. Slow
VIII.--PITCH.
I. Middle
II. High
III. Low
IV. Transition
IX.--PAUSES, INFLECTIONS, ETC.
I. Rhetorical pause
II. Emphasis
III. Climax
IV. Inflection
V. Circumflex or Wave
X.--PERSONATION.
I. Personation
II. Expression
XI.--GESTURE.
I. Position of the Hand
II. Direction
XII.--INTRODUCTION TO AUDIENCE.
I. Introduction
II. Advice to Students
XIII.--GENERAL EXAMPLES FOR PRACTICE.
PART II.
SELECTIONS FOR READING.
A Child's First Impression of a Star... _N. P. Willis._
A Legend of Bregenz... _Adelaide A. Procter._
A Modest Wit
A Prayer... _James Russell Lowett._
A Slip of the Tongue
A Tarryton Romance
Advice to a Young Lawyer... _Story._
An Autumn Day... _Bryant._
An Order for a Picture... _Alice Cary._
Ask Mamma... _A. M. Bell._
Aunty Doleful's Visit
Baby's Visitor
Beethoven's Moonlight Sonata
Bells Across the Snow... _Frances Ridley Havergal._
Brutus on the Death of Caesar... _Shakespeare._
Calling a Boy in the Morning
Cataline's Defiance... _Rev'd. George Croly._
Christ Turned and Looked upon Peter... _Elisabeth B. Browning._
Cuddle Doon... _Alexander Andersen._
Curfew Must not Ring To-night
Dios Te Guarde
Domestic Love and Happiness... _Thomson._
Drifting... _T. Buchanan Read._
Elizabeth... _H. W. Longfellow._
Eve's Regrets on Quitting Paradise... _Milton._
Experience with European Guides... _Mark Twain._
Fashionable Singing
First Experience
Gertrude of Wyoming... _Campell._
Ginevra... _Rogers._
God, the True Source of Consolation... _Moore._
Good-Bye... _Whyte Melville._
Guilty or Not Guilty
Hagar in the Wilderness... _N. P. Willis._
Hannah Binding Shoes... _Lucy Larcom._
Highland Mary... _Burns._
Home Song... _H. W. Longfellow._
How We Hunted a Mouse... _Joshua Jenkins._
How Women say Good-bye
I Remember, I Remember... _T. Hood_
I'll Take What Father Takes... _W. Boyle._
In School Days... _Whittier._
Jimmy Butler and the Owl
Keys... _Bessie Chandler_
King John... _Shakespeare._
Landing of Columbus... _Rogers._
Little Bennie... _Annie G. Ketchum._
Little Mary's Wish... _Mrs. L. M. Blinn._
Love in Idleness... _Shakespeare._
Makin' an Editor Outen 0' Him... _Will. M. Carleton._
Malibran and the Young Musician
Marmion and Douglas... _Sir W. Scott._
Mary Maloney's Philosophy
Mary Stuart... _Schiler._
Memory's Pictures... _Alice Cary._
My Trundle Bed
Nay, I'll Stay With the Lad... _Lillie E. Barr._
Never Give Up
Niagara... _John G. C. Brainard._
No Kiss
Ocean... _W. Wetherald._
On His Blindness... _Milton._
On the Miseries of Human Life... _Thomson._
Only Sixteen
Oration Against Cataline... _Cicero._
Over the Hill from the Poor-House... _Will M. Carleton._
Papa Can't Find Me
Passing Away... _Pierpont._
Paul's Defence before Agrippa... _Bible._
Per Pacem ad Lucem... _Adelaide A. Procter._
Poor Little Joe... _Peleg Arkwright._
Poor Little Stephen Girard... _Mark Twain._
Prayer... _Tennyson._
Reading the List
Reflections on the Tomb of Shakespeare... _Irving._
Rock of Ages... _F. L. Stanton._
Roll Call
Romeo and Juliet... _Shakespeare_
Sandalphon... _H. W. Longfellow._
Santa Claus in the Mines
Satisfaction
Saved... _Mary B. Sleight._
Scene at Niagara Falls... _Charlei Torson._
Scenes from Hamlet... _Shakespeare._
Scenes from Leah the Forsaken
Scenes from Macbeth... _Shakespeare._
Scenes from Pizarro... _Sheridan._
Scene from Richelieu... _Sir Edward Lytton Bulwer._
Sim's Little Girl... _Mary Hartwell._
Slander
Somebody's Mother
Song of Birds... _H. W. Longfellow._
Sonnet... _James Ritttell Lowell._
St. Philip Neri and the Youth... _Dr. Byrom._
Temperance... _Rev. John Ireland._
The Ague
The Approach to Paradise... _Milton._
The Armada... _Macaulay._
The Bald-Headed Man
The Battle of Agincourt... _Shakespeare._
The Bishop's Visit... _Emily Huntington Miller._
The Bridal Wine-Cup... _Sidney Herbert._
The Chimes of S. S. Peter and Paul
The Dead Doll
The Death-Bed... _Thomas Hood._
The Engineer's Story
The Faithful Housewife
The Famine... _H. W. Longfellow._
The Field of Waterloo... _Lord Byron._
The Fireman... _George M. Baker._
The Foolish Virgins... _Tennyson._
The Hired Squirrel... _Laura Sanford._
The Hypochondriac
The Inexperienced Speaker
The Jester's Choice... _Horace Smith._
The Kiss
The Last Hymn... _Marianne Farningham._
The Last Station
The Launch of the Ship... _H. W. Longfellow._
The Little Hatchet Story... _R. N. Burdette._
The Little Hero
The Little Quaker Sinner
The Miniature
The Model Wife... _Ruskin._
The Modern Cain... _E. Evans Edwards._
The Newsboy's Debt
The Old Man in the Model Church... _John H Yates._
The Old Soldier of the Regiment... _G. Newell Lovejoy._
The Opening of the Piano... _O. W. Holmes._
The Painter of Seville... _Susan Wilson._
The Patriot's Elysium... _Montgomery._
The Polish Boy... _Mrs. Ann S. Stephens._
The Potion Scene (Romeo and Juliet)... _Shakespeare._
The Quaker Widow... _Bayard Taylor._
The Quarrel of Brutus and Cassius... _Shakespeare._
The Retort
The Rift of the Rock... _Annie Herbert._
The Seasons... _Thomson._
The Serenade
The Sioux Chief's Daughter... _Joaquin Miller._
The Sister of Charity... _Owen Meredith._
The Wedding Fee... _B. M. Streeter._
The Whistler... _Robert Story._
The World from the Sidewalk
The Worn Wedding Ring... _W. C. Bennett._
The Young Gray Head... _Mrs. Southey._
There's Nothing True but Heaven... _Moore._
Though Lost to Sight to Memory Dear... _Ruthven Jenkyns._
Three Words of Strength... _Schiller._
To Her Husband... _Anne Bradstreet._
Tom... _Constance Fenimore Woolsen._
Trial Scene from the Merchant of Venice... _Shakespeare._
Trusting
Wanted
Waterloo... _Lady Morgan._
Wounded
Your Mission
TESTIMONIALS.
Miss Kelsey has given special attention to Reading and Elocution for a
number of years. She has a powerful voice, with variety of expression.
Miss Kelsey I know to be a lady of true Christian principles, ambitions to
excel, and set a good example in Elocution and Literature. I commend
her to those interested in this branch of learning.
Allen A. Griffith,
Author of "Lessons in Elocution,"
And Professor of Elocution at State Normal School at Ypsilanti, Mich.
I have long known Professor Griffith, whose communication is enclosed.
Such is his ability in his profession, and so large are his acquirements,
And so just and broad his critical faculty, that I cannot commend Miss
Kelsey in any way so well as by saying that I accept the Professor's
judgment as most satisfactory. His opinion of her is reliable beyond
question.
I have been pleased with Miss Kelsey's views on Elocution, as far as I can
learn them from a single interview, and hope she may be successful in the
profession she has chosen.
W. Hogarth,
_Late Pastor of Jefferson Ave. Presbyterian Church,_
Detroit, Michigan.
35 Union Square, New York.
Miss Kelsey has been under my instruction in Elocution, and I take
pleasure in saying that she was so earnest in study, and so faithful
in practice, that her proficiency was very great. I bespeak for her
added success as a teacher; and from the repertoire which her recent
study has given, new triumphs as a public reader.
Anna Randall Diehl,
Author of "Randall's Elocution," and "The Quarterly
Elocutionist."
Ann Arbour, November 3rd, 1880.
_To whom it may concern:_
I have known Miss Kelsey (now Mrs. William J. Howard) for upwards
of two years, and have a high respect for her as a conscientious,
cultivated and agreeable lady, who is entitled to confidence and
esteem. She has a good reputation as an Elocutionist, and I have
no doubt would give valuable and faithful instruction to any one
who may seek her aid.
(Signed) THOMAS M. COOLEY.
Professor of Law, Michigan University, and Judge of Supreme
Court, Michigan.
* * * * *
MICHIGAN UNIVERSITY,
ANN ARBOR, MICH.
November 13th, 1880.
For several years Mrs. Anna K. Howard, (then Miss Kelsey) lived in Ann
Arbor as a teacher of Elocution, and also as a student in one of our
professional departments, and was known to me as very earnest in all her
work.
I never had the pleasure of hearing her read or of witnessing any of her
instructions in Elocution; but of her proficiency in both directions, I
frequently heard very favourable reports.
MOSES COIT TYLER,
Professor of History in Cornell University, and author of "History of
American Literature."
* * * * *
[_St. Catharines (Ont.) Times_.]
MISS KELSEY fairly took the audience by storm, being heartily encored.
She is one of the best professional readers we have ever listened to.
* * * * *
[_Ann Arbor (Mich.) Courier_.]
MISS KELSEY'S manner is simple and graceful, or full of vigour and fire;
her voice singularly sweet and flexible, or deep and sonorous at will. Miss
K. has given readings in many of our important cities, and she always holds
her audience spell-bound.
* * * * *
[_Grand Rapids (Mich.) Press._]
MISS KELSEY is a lady of unusual talent; evidently understands her
vocation. She fully sustained her reputation acquired elsewhere, and has
made many friends in this city--her professional worth and professional
merit being recognized--who will be pleased with another opportunity of
listening to her readings should she thus favour them.
* * * * *
[_St. Thomas (Ont.) Times_.]
The readings of Miss Kelsey were the _piece de resistance_ of the evening.
This lady has a very sweet voice, and flexible, pure accentuation, and is
altogether as good an elocutionist as we have ever heard. It was wonderful
how distinctly her voice was heard all over the hall, though apparently
making no effort. She was applauded with enthusiasm.
CHAPTER I.
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 vigour 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.
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; 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 fist in the small of
the back with great force; throw the whole body backwards, feet and knees
firm, tilling 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.
These should be repeated daily with increasing energy.
The best time for practicing gymnastic exercises is either early in the
morning or in the cool of the evening; but never immediately after meals.
As the feet and lower limbs are 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 the position, and the practice of Position and
Gesture will prove a valuable aid in physical culture, and in acquiring a
graceful address. There are two primary positions of the feet in speaking:
_First._--The body rests on the left foot, right a little advanced,
right knee bent.
_Second._--The body rests on the right foot, the left a little
advanced, left knee bent.
There are 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
_left_ foot brought to its support. The second secondary position is
the same as the first with the body resting on the left foot. In assuming
these positions the movements must be made with the utmost simplicity,
avoiding all display or parade, and advancing, retiring or changing with
ease and gracefulness, excepting when the action demands energy or marked
decision. All changes must be made as lightly and as imperceptibly as
possible, without any unnecessary sweep of the moving foot, and in all
changes that foot should be moved first which does not support the weight
of the body. All action should be graceful in mechanism and definite in
expressiveness. The speaker should keep his place--all his motions may be
easily made in one square yard, but the stage or dramatic action requires
more extended movements.
WALKING.
In walking, the head and body should be carried upright, yet perfectly free
and easy, with the shoulders thrown back, the knees should be straight, and
the toes turned out. In the walk or march, the foot should be advanced,
keeping the knee and instep straight, and the toe pointing downward; it
should then be placed softly on the ground without jerking the body; and
this movement should be repeated with the left foot, and the action
continued until it can be performed with ease and elegance.
"In a graceful human step," it has been well observed, "the heel is always
raised before the foot is lifted from the ground, as if the foot were part
of a wheel rolling forward, and the weight of the body, supported by the
muscles of the calf of the leg, rests, for a time, on the fore part of the
foot and toes. There is then a bending of the foot in a certain degree."
SITTING.
In reading, the student should sit erect, with both feet resting on the
floor, and one foot slightly advanced, the head up so as to be able to use
the whole trunk in respiration.
KNEELING.
To kneel gracefully, assume the first standing position resting the weight
of the body on the right foot, then place the left knee gently down on the
floor keeping the body perfectly erect, then bring the right knee down;--in
rising, these motions are reversed, the right knee being raised first, the
full weight of the body resting on it while rising, bring up the left knee
and assume the first standing position. To be effective these motions
should be very gracefully executed and a great deal of practice must be
given to acquire freedom of action.
HOLDING THE BOOK.
The book should be held in the right hand by the side, standing in the
first position then raise it and open it to place, pass it to the left hand
letting the right hand drop by the side, the book being held so that the
upper part of it is below the chin, so as to show the countenance, and
permit the free use of the eyes, which should frequently be raised from the
book and directed to those who are listening.