1. art and entertainment
2. music
3. singing

HOW
SPEAK
TO
IN
EXERCISES
AND
WITH
CULTURE
VOICE
ARTICULATION
ILLUSTRATIVE
POEMS
BY
ADELAIDE
PATTERSON
of Public
Professor
at
ihe Rhode
Island
Speaking
College
of Education
BOSTON
LITTLE,
BROWN,
AND
1923
COMPANY
Copyright,
BY
LITTLE,
All
PRINTED
IN
THK
BROWN,
rights
UNITED
1922,
AND
COMPANY.
reserved
STATIS
OF
AMERICA
Mother
To
my
whose
voice
in
story
and
song
been
has
ever
inspiration
an
PREFACE
of
Most
which
from
books
excellent
the
Voice
on
Culture
published deal with the subject
aim is to improve
the viewpoint of the singer. Our
the speaking voice; therefore
the emphasis
been
have
is put
discussions
all the
In
side of the
that
on
articulation
the
work,
matter.
and
exercises
necessity
for the
relating
right mental
to
his audience
has
speaker toward
The
stressed.
himself
been
obligation to make
real sympathy
with
the audience,
heard, and
a
whether
he is speaking
should be felt by everyone,
hi a large hall, a schoolroom
or
a
drawing-room;
portance
and
the majority of teachers
recognize the imof combining this feeling of responsibility
attitude
mechanical
the
with
The
of the
drills.
for
foundation
built,mainly,
the
work
outlined
the technical
upon
here
son
Emer-
at
courses
is
College of Oratory in Boston; and the writer's
experience in platform reading and
teaching in
grade work, as well as in teachers' college classes,
of the practice involved.
has proved the value
This
book
request of
a
definite
has
outline
of the voice
the
logicalorder
College
Speaking
written
teachers
many
use
Public
been
of work
and
in response
to
in the public schools
to
develop
distinct articulation.
of the drills used
classroom
of Education.
the
Its
every
the
for
correct
It shows
day
in the
Rhode
Island
simplicity makes
it prac-
at
the
viii
PREFACE
tical
well
as
textbook
a
as
in
as
The
chosen
fitted
peculiarly
While
of
most
of
advisable,
the
group.
them
fifth
of
their
and
order
sixth
but
helps,
grades
in
strength
for
use
would
where
arouse
helps
better
are
Many
school.
grades;
these
them
appropriate
are
in
and
them
to
which
measure
a
one
of
intended
are
are!
points
Many
case.
quality
some
grades
upper
one
speaker,
the
upon
each
exercises
the
illustrate
and
desired
the
develop
voice.
the
in
feeling
in
grades,;
grammar
colleges.
drill
for
emotion
strong
express
and
to
emphasize
to
the
in
use
schools
high
poems
wishes
for
a
the
"
coming
do
the
adults,
for
in
to
the
for
four
any
is.
classification
simpler
first
ones
in
for
each
ACKNOWLEDGMENTS
copyrighted
and
the
to
is
poems
authors
Sons:
Scribner's
"The
Bunner;
Night
Edwin
Field.
and
People"
"France
Sons:
"Each
ruth.
Bobbs-Merrill
Whitcomb
Did
Die?"
You
Red
and
in His
"The
McNally
Rand,
Edmund
and
Stokes
Little
the
Towns."
Bar-Lass,"
Madame
Brothers:
England,"
by
G.
Alfred
by
The
from
Duclaux
"The
"A
"Slave
Company:
Morning,"
New
Stripes," by
by Abby
Farwell
Edgar
A.
F.
the
Brown.
"The
of
Watt
and
Lee
Guest.
"The
Frederick
A.
from
"The
Morris:
"The
"Belgium,
Great
Robinson).
from
P.
from
Company:
of
and
Company,
Reilly
Hilda
Noyes.
"Poems
Knights,"
and
Emperor,"
Macmillan
(A. Mary
A.
Glasgow.
and
"How
"Rhymes
Lullaby,"
R.
James
Barse
from
Kipling.
Company:
by
Company:
Page
Car-
H.
William
Service.
Doubleday,
of the
P. Putnam's
Cooke.
W.
gene
Eu-
by
Man
Brook,"
Lad,"
Robert
Silver
Spirit of Democracy,"
by
Vance
Fellow, My
by
the
G.
Publishing
"If," by Rudyard
York:
Company:
by
Blue,"
Flame."
"The
ciples
prin-
by H.
Pigeon,"
Blue
Boy
Tongue,"
Dodge
Man,"
Son, London,
"Little
Company:
"Young
Cross
New
Own
essential
so
Three,"
"Lincoln,
in Battle
Riley.
Hopkins:
a
Markham:
lishers
pub-
of the
Two,
"Little
use
book:
in this
Wind/'
and
"Rock-a-By-Lady,"
is
illustration
"One,
to
following
material
forth
set
permission
the
to
whose
methods
Charles
due
practice and
proper
and
C.
for
acknowledgment
Grateful
War,"
Harper
Heart
of
by
and
New
CONTENTS
Preface
vii
PART
VOICE
I
CULTURE
PART
II
ARTICULATION
IX
X
XI
Articulation
Exercises
Ill
Vowels
Consonants
125
136
"
.
XII
Practice
156
PARTI
VOICE
CULTURE
SPEAK
TO
HOW
INTRODUCTION
The
to
generally construed
a
special line of training for a favored few
to sing. Many
people
gifted with the power
mean
who
are
do
realize
not
the
that
singing would
The
he
fact
that
one
sings ought
to
training
same
be
beneficial
to
that
bounds
narrow
proves
im-
all voices.
often
speaks infinitelymore
the need of extending
prove
the
training beyond
it is
is
Culture
Voice
term
than
vocal
within
which
usually limited.
A
speaker's
ability to make
depends
success
himself
and
largely
his
upon
bility
the flexiheard, and upon
voice. It might be supposed
quality of his
that a thorough understanding
of
of the purpose
the
interest
and
subject-matter, the sympathy
desire to give it to others
involved, and an earnest
would
produce these
conscious
effort to
of all successful
One
has
rather
than
results;and
make
the
voice
it is true
that
radiate
is back
a
oral
expression.
go to clubs, teachers'
institutes
only to
and other public gatherings to find that the average
heard
speaker is seldom
distinctly beyond the first
few rows
talks at
of seats, if the hall is large. He
to the
audience,
with
no
apparent
recog-
TO
HOW
"A; .-::;:
SPEAK
nition of the space he must
cover; and the people,
what
instead of concentratingtheir attention upon
to strain every
he is saying,have
hear.
look
If such
a
speaker would
his audience
at
effort in the tense
air is
him. The
he
nerve
take
could
in order to
the
pains to
this agony
of
expressionsof the faces before
see
fairlybristlingwith unspoken
interested
and those who are not vitally
questions,
in the subject finallygive up in despairand begin
to talk of something else.
to think or even
But
even
the most
earnest
often ineffective because
desire to be heard
is
of
handicaps originating
in lack of breath, contraction of the throat muscles,
and incorrect pronunciationand
poor articulation,
cation
eduplacingof the speech sounds; therefore some
relatingto the correction of these faults is
necessary.
The
of the work outlined here is to develop
purpose
The proof expression.
the voice as a means
cedure
identical with
is almost
of
singing.The
that
followed
by
speakingvoice
is seldom raised above medium
E-flat,and usually
below that pitch;
cannot
go lower than two octaves
ty
so, while our objectis to establish the singingqualiin the speaking voice,much
of the drill comes
any
upon
teacher
the middle
best authorities
and
lower
the
average
tones.
But
some
of the
development of the speaking
voice believe that a speaker should not think
of his range
being limited,and that he may add
richness and varietyto the ordinarylow conversational
tones by working upward in his practiceto
the highestpitch he can
possiblyreach.
The average
looks surprisedwhen
he is
person
on
INTRODUCTION
told to
5
his voice for speaking in the
use
same
way
that he does for singing.Many singersdo not do
this,and while their singingtone is pure, liquidand
musical, their speaking voices are often husky,
rasping and
Because
metallic.
the low tones
are
less conspicuousthan
high ones, the publictolerates a qualityin the
speaker'svoice that they could not endure in a
but unpleasantvoices in the school and in
singer's;
whether
the nerves
of listeners,
the home wear
upon
of it or not. Many
and
mothers
they are aware
the
teachers who
wonder
near
the close of the
and
the membranes
at the
restlessness of children
day might find the explanation
in the qualityof their own
voices. Foreigners
the American
often remark
this,criticizing
upon
dent,
voice as high-pitchedand rasping,nasal and stricroaking and thick.
These
of which many
of us may
be justly
faults,
accused,can be corrected if one fixes in his mind
gent
the qualityhe wishes to imitate,and then by dilipracticekeeps up the drill that will bring
about the desired change; but it is absolutelyuseless
to work without a definite qualityin mind, an
understanding of the nature of the fault to be
corrected and of what each exercise is expected to
accomplish.
Not only does the wrong
of the voice produce
use
unpleasant tones, but it is injuriousto the larynx
of the throat.
Thousands
of
speakers,includingministers and teachers,go to
specialistsevery year for relief from hoarseness
and sore
throat caused by the wrong
of the
use
voice. The
doctors find the membranes
inflamed
TO
HOW
6
they
conditions
bound
are
enlargedand flabby.
formations
and the muscular
These
SPEAK
cured
be
can
temporarily, but
unless the
to return
is
cause
moved.
re-
Usually the doctor advises the patientto learn
to
use
his voice
in the throat
colds which
correctly.Many
and
bronchial
tubes
settle
might be avoided
alreadybadly irritated
is developed.
and inflamed at the time the germ
Long experience teaches those who have to speak
of both economy
a
good deal that it is a matter
if the membranes
and comfort
not
were
the voice in the
rightway.
The difference between
pleasant and unpleasant
strument
voices lies in the way
they are produced. The inof voice consists of three distinct parts
which work together.These parts are the lungs,the
organ
the
to
of breath
resonance
the
use
larynx,the organ of tone ; and
chambers, including the cavity of
cavityof the mouth, the nares, and
; the
throat,the
the cavity of the chest,all of which reinforce tone.
The perfect tone in both speaking and singing
is produced, to a great extent, by the vibrations of
the vocal cords caused
them, and by
vibration
tone
It is done
of the throat in such
of air
waves
passingover
tone-placement. The
correct
harsh, metallic
the voice."
by
is the result of
lent
preva-
"forcing
by contracting the
a
as
way
of the vocal
cords
to
and
prevent
muscles
a
normal
to obstruct
the
breath,very littleof which is used in such cases.
For the correct productionof tone, it is desirable
that
the speaker take
lungs at
so
a
but
time, but
what
there will be
an
little breath
he takes must
even,
into his
be
steadystream
trolled
con-
flow-
TO
HOW
8
the vocal cords. Therefore
ing over
to be
SPEAK
in
established
a
new
point is
breathing, the sensation
"
of
breath control.
of
costal
breathing are the intermuscles, connecting the ribs; the dorsal
muscles, extending from the dorsal vertebrae and
controllingthe adjacent ribs;the abdominal
wall,
times
protectingthe abdomen; the chest muscles,somecalled thoracic muscles, which
control the
terlacin
breastbone or sternum, and extend downward, inwith other external lower-rib muscles;and
the diaphragm, the muscular
partitionbetween the
thorax and the abdominal
ed
cavity,which is connectInvolved
in the act
the ribs.
with
ribs
twelve
The
are
attached
to the
spine,and
tent
positionis determined to a considerable exby its action. Seven of them are attached to
sternum, which easilycontrols the first five, j
upper portion of the torso is commonly spoken
their
the
This
of
as
the chest. The
other two
ribs of this group are
downto the sternum, and curve
looselyattached
ward so much, that they
so
Of the five ribs below
to the
respectively
The
last two
When
should
about
one
be
the
greatest
are
the
quite independently.
sternum, three are joined
act
seventh
rib and
unattached
inhales
a
j
breath
to each
other,
j
in front.
the entire set of ribs
"
pushed outward to increase the space
lungs and allow them to be filledto their
extent.
The
chest muscles
control the five
ribs with the sternum; the others are moved
outward and upward by the interaction of the diaphragm
upper
and
the upper
the dorsal muscles.
abdominal, the thoracic and
INTRODUCTION
with
interlace
muscles
These
9
such
complexity
active
most
are
it is difficult to say which ones
Ifchat
Iin doing the work. One must have in his mind a picture
of the
the abdominal
diaphragm and
rushing the lower ribs outward
at the
same
upward,
and
the dorsal muscles
time
downward
Ithem from
and
the
from
muscles
thorax
while
those
are
pending
ex-
pulling
the outside.
During this process the
which was
originally
dome-shaped,has
piaphragm,
of the ribs and lies
itself with the lifting
jflattened
the rib walls. Until recently
and firm between
{tense
that the intercostal muscles had a
|thetheory was
influence
(powerful
no
longer believed
jis
As
these movements, but that
by the leadingauthorities.
upon
is exhaled
the breath
under
normal
stillhold the sternum
the chest muscles
allow
tions,
condiaway
for
but the
rapid refilling;
ribs,which are not easilycontrolled by the
(lower
teternum, drop inward and downward, and the diaand
relaxes its tension
again becomes
jphragm
force the air out
dome-shaped. These movements
of the lungs all at once.
In "deep breathing, for health exercises or for
ther purposes,
of the lower ribs should
the lifting
them and should
e done by the muscles
controlling
caused by the
e quiteindependent of the pressure
llingof the lungs. Their inward and downward
should be assisted by a strong gripping
ovement
the lungs to
(from
"
f the muscles.
time the ribs
A
are
it may
be exhaled
inward
and
breath
may
lifted outward
at the
downward,
be inhaled
and
its action
the
upward, and
time the ribs
but
at
are
must
.owed to influence the action of the ribs.
drawn
not
be
One
ing
air
singing
the
of
out
must
not
lungs
all
inward
gripping
and
the
from
Breath
wishes.
having
a
the
measuring
there
will
vocal
the
over
object
of
control
this
breath.
cavity
outgoing
be
always
cords
the
space
or
a
for
steady,
produce
to
teach
the
breath
violently,
the
upon
The
art
to
of
that
flowing]
stream
is
one
upon
skilfully
tone.
ward
upas
and
lungs
even
by
inal
abdom-
upper
so
tone,
caused
the
the
exercises
following
the
therefore,
stream
to
and
the
depends,
control
sufficient
between
sends
gradually
lungs
out
inward,
move
muscle,
of
muscles,
prevent
support
powerful
the
pushing
stretched
movement
dorsal
the
must
to
help
sp"
force
to
by
ribs
to
this
of
in
kept
wall-cavity
vibration
The
is
for
ribs
but
once,
the
of
tendency
the
of
sides
the
closing
diaphragm
the
Then
at
breath
the
allow
from
the
SPEAK
control
to
lung-space
against
the
wishes
who
or
the
the
TO
HOW
10
twofold
create
and
measuring]
CHAPTER
CORRECT
I
POSTURE
beginning
When
bractice
for
or
[o better
meet
and
the
Ldults,he
finds
and
^re these
them
to
One
stand
if
"hot
forward
leld
forward
leld
stifflyback,
at
by
of
and
children
to
if his
So
grace.
at
to
or
body
presses
ex-
important
should
be
the
shoulders,
slant;
the
ribs
the
abdomen
the
balls
just touching
the
of
about
angle
an
3ar,
the
point
ind
the
arch
of
of
the
the
in ; the
of
the
floor;
the
hips
should
be
in
at
back
feet; heels
of
line.
the
;
gether
to-
pointing
toes
point
not
easily
sixty degrees.
shoulder,
foot
be
and
free
be
not
should
hanging
arms
should
on
be
should
mation,
ani-
spirit. The
buoyant
shoulders
with
and
lightness
above
ugly
an
; the
with
some
directly
resting
and
3utward
be
; the
weight
decided
a
interest
attention
some
be-
impression
response
erect,
upheld
should
;he
talking
in
work
to
it has
poise,
and
that
lead
Jie sides
is
only
muscles
the
be
here.
should
as
bodily
freedom
details
the
for
must
not
giving
definite
strength,
body
because
one
a
the
allows
audience,
Llertness,
mental
Luthority.
Whether
sing, whether
or
necessary,
but
advantage,
upon
kiven
is
This
it is healthful
pause
speak
audience,
an
SPEAKING
FOR
to
position.
berfect
I
The
hip
HOW
12
Round
SPEAK
TO
shoulders cannot
be corrected
should
ting the shoulders back'7;one
sternum
forward,taking care not
inward
at the
this
waist. To
to bend
by "pu
push tl
the bac
relieve the tension
bend
whici
the
knees,or ber
forward at the waist,limply, and then gradual';
straightenthe spine.The shoulder-blades will drc
N
into placeif the chest is in the rightposition.
part of the body should be tense;naturalness am
causes
freedom
are
curve
one
may
necessary
at all times.
speaking or singing,one foot should be
littlein advance of the other,the instepof the fo"
in fronf
behind just touching the heel of the one
in front "
One should practicetaking this position
tillit comes
It is very ungraci'
a mirror
naturally.
ful to drop down with one hip projecting
and on
foot draggingoff at the side or back, as if it we^
unrelated to the rest of the body. One can come
1
the correct positionon three counts : heels togetha
on
1; step forward a littleon 2; bring the bad
For
ward
Do
foot forward
this in front of
so
a
as
to touch
mirror and
the other
note
the
on
j
correc
Shut the eyes and sense it.Step back froj
position.
this positionand then take it again with the eyi
shut. Look in the mirror againto see that it is righi
times tillyou are able t
Repeat this process many
do it mechanically.
This steppingforward should occur
when on
begins to speak. It suggests a desire to give,an
is also an unspoken demand
for attention froi
the audience,
to which they unconsciously
responc
A man
takes
a broader base than a womai
usually
but he should poise forward just the same.
POSTURE
CORRECT
It is
ell.A
just
as
teacher
FOR
in
walk
to
necessary
SPEAKING
well
well-known
a
as
French
13
stand
to
school
has
^
Aid:
"
Nothing gives such an impression of dignity,
and breeding as does a correct walk. It shows
jftace,
Jpergy, decision of character, self-control and
self-esteem.
The
jjroper
body should be held in
.e same
erect, buoyant posture as for standing.
ith each step the weight should fall on the ball
Ifthe foot, but the heel should strike simultane"
usly.The
should
movement
from
the
hips,
muscles
of the legs acting independently of
above
the waist; the head
and
shoulders
lose
lould take no part in the affair. If the body is held
the legs may
swing forward
freely,
juoyantly,
jdthbut little bending at the knee, and the head
pd shoulders
manner
do not
so
bob
often
up
come
and
down
in the
graceful
un-
seen.
sittingand rising,the body should be lowered
pd raised by the muscles of one leg,a littleback of
tie other, avoiding any
ugly contortions of the
In
and
poulders
the
rard and
head
up,
should
aim
the
hents. One
and make
back.
The
chest
should
be
as
in other
bodily
to
conserve
muscular
for-
moveen-
inconspicuous as posble;for the less attention he attracts to himself,
the audience
will give to what
he says.
le more
Correct
to
posture is absolutely necessary
reath-control. If the chest is held outward
beyond
le abdomen,
one
can
get a better purchase upon
rgy
le
muscles
ut to
his motions
of the ribs when
as
he wishes
keep the lung-space from
to hold
closing,
them
CHAPTER
II
BREATHING
I. Exercise
for
Take
1.
without
makes
them
order
them
move
have
fore
then
large
as
their
down.
3.
Inhale
ing
it
chest
a
out, but
also
helps
and
enables
outward
Many
making
the
This
IJ
rhythmic
thef
shoull
One
Practice
b"ji
chest
comfortable
to
drawing
isolate
them
to
the
the
it
hold
the
flat
of
expansion
and
of
ribs
the
chest
in
a
help
the
after
and,
slowly,
lower
action
perfectly
them
breath
exhale
thi
the
that
from
dropping
by
strengthens
action
instant,
an
Thi
and
action.
muscles
possible.
lower
and
counts
lifting it again, making
isolate
to
this
ouj
responsive.
counts.
chest
the
inward,
sternum
of
them
helps.
Exercise
2.
and
picture
mirror
a
eight
on
then
breath.
the
eight
on
tl
drawing
steady
in
again
out
mental
a
them
by
and
movement
draw
should
exercise
moving
from
help
Lungs
and
then
flexible, strong
the
the
ribs
and
any
keep
to
lower
the
downward
again,
About
position
correct
a
and
inward
Space
Creating
controlling
muscles
one
EXERCISES
hold
tto
keeping
inward.
chest
a
Thi
musclri
permaneii
position.
people
lift the
chest
and
the
shoulders
ul
HOW
16
This
capes.
TO
SPEAK
controls the action
of the
diaphragrc
by keeping it flat. By thus preventing
the lung space from closingin, one
allows
the breath to go out gradually.This not only furnishes
air for the production of tone, but keeps 11
firm and steady,instead of lettingit tremble and
to
great
a
weaken
as
extent
it often does when
Inhale,hold the breath
exhale
is let oui
control.
without
2.
the breath
on
t-t-t-t-t-t-t-t-t. This
an
instant,and then
is a littlemore
cult
diffi-
ginning
hissingsound, because with the beof each syllablethere is a tendency to
the ribs inward; and one
must
use
move
more
effort to keep them out.
3. Inhale,hold the breath an instant,and them
exhale,counting 1, 2, 3, 4, consciouslymeasuring;
than
the
breath
the
so
that
it will last to the end
of the
counts.
Repeat the exercise several times, taking card
that the breath is entirely
gone on the fourth count.
Then
gradually increase the counts till you arei
able to count twenty on one breath.
Then
take long sentences, having twenty oil
and measure
the breath to make it
more
syllables,
hold out to the end. Lines with many
one-syllable'
words are good, as they resemble the counts. Look
ahead all the time, thinkingof the need of letting!
ing
out only a littlebreath on each word, and of holdthe ribs firm to keep the space about the lungs
and so control the action of the diaphragm.
Say: And a dozen times we shook 'em off as a
dog that shakes his ears, when he leaps from the"
"
water
to the land.7'
EXERCISES
BREATHING
cause
think,O blue-eyedbanditti,behave scaled the wall, such an old mustache
Say: "Do
you
you
I
as
a
match
as
for you
soon
expressionof thought,
the
as
and
all?"
because
possible,
the mechanical
to combine
wish
we
is not
am
choose sentences
We
17
so
exercise with
establish the
of measuring the breath during ordinary
virtue in holdingthe
speech.There is no particular
habit
long, usually,for one
breath frequentlyduring
breath
new
one
so
should be able to do it in
most
stanza
some
or
in
speeches,but
emergency.
for Replenishing the Breath
III. Exercise
Often
Choose
an
is able to take
Quickly and
paragraph which
affords
breath. Inhale
frequentopportunitiesfor taking new
a comfortable
breath,pushing out against the
ribs at the same
time. As you begin to speak,hold
the ribs out, keeping the space as great as possible,
when a
so as to allow for a quick intake of breath
pause
The
occurs.
dorsal
and
upper
abdominal
muscles
gradually,as their action
diaphragm and helpsto send the breath
should be drawn
affects the
the
inward
upward.
through the mouth at such
times. In places where the pause is so slightas to
make it difficult to draw in a good breath,one can
against the lower
get a little by pushing outward
ribs. By creating a little more
allows
space, one
breath to enter the lungs. One
should practice
these movements
the tendency of a
a good deal,as
One
should
breathe
TO
HOW
18
SPEAK
he
speaker is to impoverish himself,when
be taking in all the breath he needs.
followingpoems
The
be used
may
as
might
breathing
exercises :
O'
FLAG
of the
to the breeze
Up
Blending
your
folds with
devotion
and
Love
LAND
morning
people behold
let the
There
MY
that
I
flingyou,
the dawn
you,
never
in the
and
sky;
bring you
shall die.
Proudly agaze at your glory,I stand,
Flag o' my land ! flago' my land !
Standard
most
Whither
Only
you
no
Heart
Flag
beckon
of
beauty!
there will I go,
me
God, is my duty;
other allegianceI owe.
to you,
Unto
glorious!banner
after
of me, soul of me, yours to command,
land !
o' my
land ! flago' my
Pine to
to ocean,
palmetto and ocean
Though of strange nations we get our increase,
Here are your worshippersone in devotion,
Whether
the bugles blow battle or peace.
Take us and make
us
patriotband,
your
Flag o' my land! flago; my land!
Now
to the breeze
Ah
! but
Teach
When
the days when
to
us
the
Dwell
Flag
of the morning I
see
you
and
lightfades
the staff will be bare !
love you
and
your
in the hearts that
o' my
land!
give you.
flago'
are
my
live you
and
folds
yours
are
to
not
there.
commanc
land!
"
Thomas
A.
Dalyj
BREATHING
EXERCISES
FLAG
THE
I
am
But
whatever
always
I
am
all
am
and
song
that
SPEAKS
me,
nothing
you
hope
more.
and
be
to
have
the
for.
try
to
courage
I
make
you
19
and
struggle
fear,
panic
and
ennobling
hope.
I
am
day's
the
of
dream
I
am
work
the
of
the
and
soldier
and
I
My
am
no
than
stars
and
labors.
well
my
For
that
you
you
and
man
you
largest
the
glory
the
in
and
statutes
dreadnought,
counselor
believe
stripes
are
courts,
and
cook,
street-sweep,
more
weakest
daring.
most
constitution
the
the
to
me
are
and
the
drayman
clerk.
be.
dreams
your
of
makers
ute-makers,
stat-
the
and
flag,
and
your
it
making.
Franklin
K.
Lane.
"
(Taken
from
"The
Flag-makers.")
is
III
CHAPTER
DIRECTION
TONE
The
fundamental
of
is
larynx
air
organ
is
produced
tone
the
from
lungs
fundamental
which
Much
chambers.
and
thought
fine
voices
it so,
and
think
the
diaphragm
the
most
of
the
at
important
things
to
the
sensation
consider
is to
focal
of
the
such
a
starting
of
tone
way
the
of
have
sive
expres-
them
rectly,
cor-
important
most
relaxed
be
all
nostrils.
consider
place
the
enable
of
nection
con-
breath
established
next
to
step
The
theory
bers
cham-
resonance
it to
at
One
the
of
tone-direction.
to
it
about
is this
Having
the
and
beginning
as
the
tone.
through
as
of
people
forget
breath-control,
habit
by
gain all
the
possible.
overtones
When
point
is the
direct
in
should
ending
the
two
must
and
and
added
produce
of
throat
one
the
onance
res-
is
not
tone-production
between
various
power.
results, the
keep
to
open;
do
this
by
many
not
them
and
quality
good
do
they
depriving
properties,
For
However,
But
enriched
the
color
intellect
keen
because
thus
in
stream
a
cords.
and
tone
feeling.
feeling and
vocal
gathered
correct
sending
enlarged
are
The
tone.
by
the
over
is
tone
overtones
of
the
one
is
directing the
tone
he
must
be
care-
TONE
POSITIONS
OF
DIRECTION
RESONANCE
ORGANS
AND
1. Nares
or
upper
resonance
chamber.
2.
Highest point in narial arch.
7.
8.
9.
10.
Upper pharynx.
pharynx.
Cavity of mouth.
Larynx.
Trachea or windpipe.
/Esophagusor
Diaphragm.
OF
11.
DIAPHRAGM
SPEECH
Lung
space.
13. Soft
palate.
palate.
15. Upper gum.
lip.
16. 17. Upper teeth and upper
18, 19, 20. Tip of tongue, lower
teeth and lower lip.
21. Top of tongue.
14. Hard
5. Lower
6.
CHAMBERS,
12. Uvula.
3. Nostrils.
4.
21
food canal.
22. Back
of tongue.
HOW
22
ful that
it reaches
TO
the
arch, before dropping
chamber
resonance
SPEAK
highestpoint in the narial
to
adds
the
nostrils. The
immeasurablyto
upper
the
ity
qual-
of the tone, because of the overtones
which are
gathered there. Note the direction of the dotted
diagram on page 21.
Get a mental
picture of the breath startingfrom
the ower
portionsof the lungs,near the diaphragm
and spurtingupward, fountain-like,
to the bridge
of the nose, then dropping to the nostrils. One can
of the breath in its passage
feel the warmth
through
its direction.
and can
these chambers
easilysense
We should think of the tone as being borne along
line in the
to the
the breath
on
If
send
can
his hand
his tone
to
easilyas
as
into
actions
are
thought. Some
this focal
on
he
point,he
can
move
certain place when
a
a
matter
teachers
of
use
he
sponse
physicalrethe bridge
trils,
point,but we use the nosbecause, as we have already said,we think
the tone as coming on the breath,and it is easy
it at that point.
sense
of the
to
there
his foot
or
wishes to ; both
of
his mind
centers
one
nostrils.
One
sound
Hm,
nose
as
should
the focal
take
for his model
in the language and tune
the noise the breath makes
the most
musical
all the others to it.
in
passingthrough
it is
tone when
a humming
nostrils,becomes
and is therefore the most free and musical
vocalized,
tone we
have, so we take that for our model.
the
I. Exercises
for Tone-Direction
lips,making them round, and
breath on the syllablehm. Repeat this
1. Protrude
expel the
the
TO
HOW
SPEAK
Hm
Probably,if one has had the habit of forcingthe
voice,it will at first be hard to reach E flat.As the
tone rises in pitch,the tension of the vocal cords
increases,causing them to draw together.When
"
"
tone, this tension becomes so
great that they close altogether,and one is unable
the right use
of the voice,
to utter a sound. With
one
strains to make
a
one
should reach
flat
it;and
one
may
E
do
so
as
easilyas
the tones
if he thinks of the tones
below
as
ing
be-
level,like the keys on the piano keyboard.
The idea of difficulty
and effort thus beingremoved,
on
a
the muscles
of the throat
relax and
allow the vocal
cords to separate enough to let the sound through.
But if a student
finds it too difficultto begin
with
E
he
flat,
take
C
B
instead,and
work up and down
the scale from the lower pitch.
One should always have a mental
picture of the
tones as being on a level,
and be sure they are not
forced by the throat. Any of the musical exercises;
that have been given can be started on C or B flat
as
easilyas on E flat.Of course, one would find it1
may
or
flat
TONE
hpredifficult to
DIRECTION
sing down
two
25
octaves
in such
ases.
Where
a
teacher has to deal with
people who
so
called "mon-
to be
tone-deaf,it is
the tone to a pitch
"ard to get them to modulate
lat is pleasing.Their voices are
usuallypitched
igh,and there is an unpleasant,gratingsound in
tones"
or
tie tone. One
all the student
seem
do very littlewith the exercises
has been made
the differto sense
can
high and low in the matter of pitch.
ke must get a concept of this difference by listening
to the sounds, either sung,
or
played on the
tiano. As the teacher sings or plays the higher
Htch,the student listensand senses it as high.Maybe
the exact key that was
he cannot
strike at once
pven,but he will approximate it.The teacher then
tivesa pitch one octave below the first. Have the
that pitch or one very
[tudentlisten tillhe senses
it. Then
have him return to the higher one
.ear
nd immediately afterwards take the lower one.
the differhis will eventuallyhelp him to sense
It must be a mental
between the two pitches.
nce
One cannot
"rocess.
depend upon the chance of
aving such a student get it "by ear."
One should keep the tone constantlyat the nosfor if it is placed far back in the resonance
rils,
hambers, it has a covered sound and does not carthrough the nostrils gives
y so well. The passage
b definiteness and
direction. After working with
for
m
through the different pitches,and listening
he humming
take
should
other
quality, one
to the focal
speech sounds, trying to direct them
nce
between
oint.
HOW
26
TO
SPEAK
long o or long oo as the model vowe
sound,for they are formed in the back of the moutl
3. Take
than some
of thi
resonant
therefore more
other vowels. In order to send them more
easilyt(
start them with t. Say too on median
the nostrils,
and then go down the scale a,
C or B flat,
E flat,
and
are
all the time for the hum!
listening
possible,
It is well to start with m occasional!;;
ming quality.
far
as
is in the upper resonance
bev and is coming out at the nostrils.
to be
sure
the tone
cham
-"
-Z7-
Too, too, too,
too.
Too, too, too, too, too, too,
too.
'*~-+
Too,too,too,too,too,too,too,too,too,too,too,too,too,
too.
Too,too,too,too,too,too,
Too,too,too,too,too,too,too.
Too, too, too, too, too, too, too, too, too, too, too, too,
too,too,too, too,too.
Too,too,too,too,too,too,too,too,too,too,too,too,too,
TONE
and vowel
the consonant
4. Combine
27
DIRECTION
sounds
in
scales and intervals used
singingthe same
L the previousexercises.
5. Try other vowels that do not readilyrespond
combining them with oo: oo-e, oo-l,
resonance,
Start as before on
a
pitch suffi"a, oo-e, oo-a.
entlyhigh to make it impossibleto force the tone
through the
ith the throat, and go downward
inge used in the ordinary conversational utterall the time for the humming qualaces, listening
,-no-m,
y. Use
the
notes
same
that you
did in the other
fxercises.
6. Practice the
of
verse
a
song
or
a
poem
that
humming
Emotional
jounds.
thoughts are better, as they
of the musical qualityin them. Sing:
ave
so much
all these
mbines
Roun'
de meadow
am
Roun' de meadows
vowels
a
am
Say: "By Nebo's
a
with
the
de darkey'smournful
ring-in'
song.
de darkey's
mournful
ring-in'
song.
lonelymountain,
on
this side
there
ordan's wave, in a vale in the land of Moab
ies a lonelygrave.'7Listen all the time to the tone,
ryingto keep
Wasn't
0 brother
it pleasant,
In those old
Of
And
humming
the
days
qualityin
the tone.
mine,
of the lost sunshine
through,
Saturday'schores were
in the kitchen,too,
the "Sunday's wood"
"me and you,"
And we went visiting,
Out to Old Aunt Mary's?
youth
"
when
the
He
And
had
that His hand
His
That
that I
OLD
was
like to have
I should
OF
story of old,
here among
men,
called littlechildren like lambs
Jesus
When
I wish
STORY
SWEET
the sweet
I read
when
I think
SPEAK
THE
I READ
WHEN
I THINK
How
TO
HOW
28
might
been
with Him
been
placed
heard
have
on
head,
me,
voice when
kind
His
fold,
then.
my
around
thrown
been
had
arm
to the
said:
the littleones
"Let
Yet
Me."
unto
footstool in prayer
we
ask for a share in His love;
stillto His
To
And
come
if
We
seek
faithfully
but
we
meet
may
and
Him
"ONE,
It
was
an
And
a
the
And
couldn't
the
And
For
he
With
They
Out
And
go
below,
Him
Him
serve
above.
THREE!"
old,old,old,old lady,
boy that was half -past three;
that they played together
way
beautiful
Was
She
TWO,
may
boy,
a
was
a
go
to
see.
jumping,
could he;
more
little fellow,
running
no
thin
and
thin little twisted
yellow sunlight,
the maple-tree;
that they played I'lltell you,
sat in the
under
the game
Just as it
knee.
was
told to
me.
TONE
It
DIRECTION
Hide-and-Go-Seek
was
29
they
have known
Though you'd never
With an old,old,old,old lady,
And a boy with a twisted knee.
The
his
On
bend
would
boy
playing,
were
it to be
"
his face down
littlesound
rightknee,
he'd guess where she was
hiding,
guesses One, Two, Three!
And
In
"You
one
in the china-closet!"
are
would
He
laugh with glee;
china-closet;
and
cry,
'
the
It wasn't
he stillhad
But
"You
are
up
Two
in Papa's big bedroom,
In the chest with
And
she said: "You
"It
old
key!"
are
and
warmer;
warm
can't be the little cupboard
Where
Mama's
So it must
And
her with
she covered
That
were
she
With
things used to be
Gran'ma!"
clothes-press,
"
be the
he found
Then
And
the queer
quite right,"said she.
you're not
But
Three.
and
One
and
wrinkled
and
her fingers,
her face with
guessed where
a
his Three.
a
Two
white
the
boy
and
a
and
was
wee,
hiding,
Three.
And
had stirred from their places,
they never
Right under the maple-tree
This old,old,old,old lady,
And
the boy with the lame little knee
This dear,dear,dear old lady,
And
the boy who was
half -past three.
"
"
"
H.
C. Bunner.
TO
HOW
30
SPEAK
night behaved?
What
matter
how
the
What
matter
how
the north-wind
high, blow low, not all its snow
Blow
quench our hearth-fire's ruddy glow.
and Change!
with hair as gray
sire's that winter day,
my
Could
Time
O
As
"
was
strange it
How
Of life and
love, to stilllive
I and
much
so
gone
!
on
thou
left of all that circle now,
dear home
faces whereupon
Are
"
The
fitful firelight
paled and
That
Henceforward,
listen
we
as
voices of that hearth
The
Those
paths their
sit beneath
We
hear,like them,
turn
Their
voice
No
o'er,
worn,
trees,
of bees
corn;
the pages that they read,
written words we lingero'er,
they cast no shade,
is heard, no sign is made,
in the
But
feet have
the hum
rustle of the bladed
We
still;
their orchard
We
And
will,
we
tread the
We
are
shone.
the wide earth
may,
lightedfaces smile no more.
where
Look
Yet
with
seems,
Ah, brother! only
No
raved?
sun
step is on
Love
the conscious
will dream, and
floor !
Faith
(SinceHe who knows our need
That somehow, somewhere, meet
Alas for him
who
never
will trust,
is just,)
we
must.
sees
through his cypress-trees!
Who, hopeless,lays his dead away,
Nor looks to see the breaking day
Across the mournful
marbles play!
The
stars
shine
32
HOW
TO
LITTLE
BLUE
SPEAK
PIGEON
(JapaneseLullaby)
Sleep,littlepigeon,and fold your wings
Little blue pigeon with velvet eyes;
Sleep to the singingof mother-bird swinging
Swinging the nest where her littleone lies.
"
"
yonder I see a star
Silverystar with a tinklingsong;
I hear it calling
the soft dew falling
Callingand tinklingthe nightalong.
Away
To
out
"
"
comes
through the window a moonbeam
Little gold moonbeam
with misty wings;
All silently
creeping,it asks: "Is he sleeping
Sleepingand dreaming while mother sings?"
In
"
"
Up from
the
Of the
As
But
Am
sea
there floats the sob
breakingupon the shore,
groaningin anguish,and moaning"
no
more.
ship that shall come
that
waves
though they were
Bemoaning the
are
sleep,little pigeon,and
Little blue pigeon with
I not singing? see, I am
Swinging the nest where
"
fold your
mournful
wings
"
eyes;
swinging
darlinglies.
my
Eugene
"
"
THE
ROCK-A-BY
Field.i
LADY
Rock-a-By Lady from Hushaby street
Comes
creeping;
stealing;comes
The poppies they hang from her head to her feet,
And each hath a dream
that is tiny and fleet
She bringeth her poppies to you, my sweet,
she findeth you sleeping!
When
The
"
is
There
And
of
littledream
is one
drum
beautiful
a
a
big sugar-plum,
fast the other dreams
lo ! thick and
come
hum,
that bang, and tin tops that
Of popguns
And a trumpet that bloweth!
And
dollies peep
of those
out
"
goeth;
it
"Rub-a-dub!"
There
of
littledream
one
33
DIRECTION
TONE
littledreams
wee
laughterand singing;
on
And boats go a-floating
silverystreams,
misty gleams,
And the stars peek-a-boo with their own
Moon
beams,
And up, up, and up, where the Mother
The fairies go winging!
With
Would
eyes
are
tinyand fleet?
sleeping;
to you
They'llcome
So shut the two
that
allthese dreams
dream
you
that
are
sweet,
Hushaby street,
my
weary,
Rock-a-By Lady from
With poppies that hang from her head to her feet,
Comes
creeping.
stealing;comes
Eugene Field,
For the
_
"
BLUE
BOY
LITTLE
dust,
But sturdy and stanch he stands;
And the littletoy soldier is red with rust,
The
littletoy dog is covered
Time
was
And
And
Kissed
was
them
"Now, don't
dog was
passingfair;
the littletoy
when
the soldier
that
in his hands.
moulds
his musket
And
with
was
the time when
and
you
put them
go tillI
our
Little Boy Blue
there.
come," he said,
don't you make
any noise!"
So, toddlingoff to his trundle-bed,
"And
He
dreamt
of the
new,
pretty toys;
HOW
34
And,
he
as
was
Awakened
TO
SPEAK
dreaming, an angel song
Little Boy Blue
our
the years are long,
are
many,
"
Oh!
the years
But the littletoy friends
Ay, faithful
Each
to Little
in the
Boy Blue they stand,
old place
same
"
Awaiting the touch
The
And
true !
are
smile of
a
of
a
littlehand,
littleface ;
they wonder,
waitingthe long years through
In the dust of that littlechair,
has become
of our Little Boy Blue,
What
as
Since he kissed them
and
put them
there.
"
THE
There
Away
Away
AND
NINE
ninety and nine that safelylay
the shelter of the fold;
were
In
But
NINETY
Eugene Field..
out
one
was
Far
off from
on
the hills away,
the gates of gold,
on
"
the mountains
from
the tender
wild
and
bare,
Shepherd's care.
"Lord, Thou hast here Thy ninety and nine:
Are they not enough for Thee?"
But the Shepherd made
'Tis of mine
answer:
"
Has
wandered
from
away
And
although the road
I go
to the desert to find
But
none
How
be
rough and steep
sheep/
my
of the ransomed
deep
me;
ever
knew
Nor
crossed,
how dark was the night that the Lord passedthrough:
Ere he found his sheep that was
lost.
Out
in the desert he heard
Sick and
were
the waters
and
helpless,
its cry
ready to die.
"
"
DIRECTION
TONE
"Lord, whence
mark
That
"They
out
who
one
had
the
astray
gone
bring him
Shepherd could
"Lord, whence are thy hands
"They are piercedto-nightby
Ere
way,
the mountain-track?"
shed for
were
blood-dropsall the
those
are
35
so
back."
rent and
a
many
torn?"
thorn."
through the mountains, thunder-riven,
And up from the rocky steep,
There rose a cry to the gate of Heaven,
Rejoice!I have found my sheep!"
And the angelsechoed around the throne,
"Rejoice!for the Lord bringsback His own!"
Elizabeth Cecilia Clephane.
But
all
"
"
HOME
FROM
THOUGHTS,
to be in
Now
England
that April's
there,
And
whoever
Oh,
ABROAD
wakes
in
England
morning, unaware,
sheaf
That the lowest boughs and the brush-wood
Round
the elm-tree bole are in tinyleaf,
While the chaffinch singson the orchard bough
now!
In England
Sees, some
"
April,when
And
after
And
the whitethroat
blossomed
Hark!
where
Leans
to the field and
Blossoms
my
May follows,
builds,and all the
and
swallows!
pear-tree in the hedge
scatters
the clover
on
dewdrops at the bent spray'sedge
That's the wise thrush;he singseach song twice over,
Lest you should think he never
could recapture
The firstfine careless rapture!
And though the fieldslook rough with hoary dew,
All will be gay
The
"Far
"
when
buttercups,the
brighterthan
noontide
wakes
anew
littlechildren's dower
this
gaudy
melon-flower!
"
Robert Browning.
CHAPTER
IV
TESTS
QUALITY
should
There
high
of
expulsion
all
at
attack
times,
especially
the
as
of
in
the
the
three
do
the
help
not
A
the
and
diaphragm,
ity
qualpoints
end.
By
This
tone.
is
sounds,
in
projecting
tone
sustained
the
by
this
vowel
consonants.
ways:
explosive
of
the
as
three
and
beginning
speech
do
they
as
from
middle,
in
smooth
insure
To
starting
important
attacked
by
the
and
tone
a
the
attack,
organs
them
itself.
whether
tone,
any
on
soft
as
study
we
mean
we
be
breath
the
the
view:
of
edge
no
it should
low;
or
be
be
may
diaphragm,
by
the
glottis
stroke.
ordinary
For
The
of
the
Learn
the
ribs
is sent
breath
speech,
slowly
dorsal
and
think
diaphragm,
responsibility
to
swallow
contract,
to
release
the
the
of
and
in
and
the
matter.
when
the
steadily
tone
If
starting
tension.
by
the
the
ment
move-
abdominal
upper
relieve
so
and
forcibly
out
phragm.
dia-
sustained
the
use
held
are
out
to
we
as
the
from
starting
of
throat
it still shows
a
cles.
mus-
vowel,
a
yawn
any
ency
tendor
QUALITY
for
I. Exercise
TESTS
Teaching Attack
37
with
the
Sustained
Diaphragm
Say: ha, ha,ha,ha,ha,ha; he,he,he,he, he,
he; ho, ho, ho, ho, ho, ho; heel,hole,hang, hung,
hallelujah.
Hold the ribs out forcibly,
sation
tryingto get the senwith the diaphragm.
of starting
every syllable
Forget all about the throat and think only of the
1.
connection
between
the lower
ribs and
the
nose.
"
Say : Hold it for fifteen days ! we have held
Note the H sounds and see
it for eighty-seven."
that they start at the diaphragm, with a slight
traction
con2.
""
of the muscles
there.
working with this sound that naturally
take vowel
starts at the base of the breath-control,
sounds, trying to attack them in the same
way.
ing;
Say: over and over; ever and always; every even3. After
the mountains.
over
Recite,seeing that each sound is attacked
without any gratingqualityin the throat:
4.
Hallelujah!Hallelujah!Hallelujah!
Hallelujah!
Hallelujah!
Hallelujah!Hallelujah!Hallelujah!Hallelujah!
Hallelujah!
For the Lord God Omnipotent reigneth!
Hallelujah!
Hallelujah!Hallelujah!Hallelujah!
For the Lord God
Omnipotent reigneth!Hallelujah!
Hallelujah!Hallelujah!Hallelujah!
the kingdoms
The kingdoms of this world are become
'
",
of
our
Lord
Christ,and of his Christ! And he shall reign
Forever and ever! Hallelujah!Hallelujah!Hallelujah!
Hallelujah!
And
of his
TO
HOW
38
Lord
And
He
Lord
Kings and
of
King
SPEAK
of Lords!
King
of
Kings
of Lords!
reignforever and ever! Hallelujah!
Hallelujah!Hallelujah!Hallelujah!
shall
Arrangedfrom
"
The
Hallelujah Chorum
in Handel's
A
Oh, such
LAUGHING
CHORUS
under
commotion
"Messiah.
the
ground
called "Ho, there,ho!"
When
March
Such spreading of rootlets far and wide,
Such whispering to and fro.
And
"Are you ready?" the Snow-drop asked;
a
"
'Tis time to start,you know."
"Almost, my dear," the Scilla replied;
"I'll follow
"Ha!
Then,
Of
Yes
"I'll
as
soon
ha! ha!"
as
a
"
millions
promise
go."
you
chorus
laughter soft and
the millions
From
am
low
of flowers
"
came
under
beginning to
the ground
"
grow.
blossoms,"the Crocus said,
"When
I hear the bluebird sing."
"And
straight thereafter,"Narcissus cried,
"My silver and gold I'll bring."
"And
ere
they are dulled,"another spoke,
"The
Hyacinth bells shall ring."
The Violet only murmured,
I'm here,"
And
sweet
the breath of Spring.
grew
Then, "Ha! ha! ha!" a chorus came
Of laughter soft and low
From
the millions of flowers under the ground
Yes
millions
beginning to grow.
my
"
"
"
"
HOW
40
TO
SPEAK
"By God, by faith,by honor, yes!
To keep our name
that paper
upon
Henry
"
the Norn
When
OP
MAN
THE
LINCOLN,
Mother
saw
We
fight
white."
Van
Dyke.
PEOPLE*
THE
the Whirlwind
Hour
Greatening and darkening as it hurried
on,
She left the Heaven
down
make
To
a
man
and
of Heroes
to meet
came
the mortal
need.
the tried
road
clay of the common
Clay warm
yet with the genialheat of Earth,
Dashed
through it all a strain of prophecy;
Tempered the heap with thrill of human
tears;
Then
mixt a laughterwith the serious stuff.
Into the shape she breathed
a flame to light
That tender,tragic,ever-changingface;
of the Mystic Powers,
And laid on him a sense
behind the mortal veil.
all husht
Moving
to hold againstthe world,
Here was
a man
She took
"
A
The
The
The
The
The
The
"
to match
man
"
the mountains
and
the
sea.
him, the red earth;
and tang of elemental things:
smack
rectitude and patience of the cliff;
good-will of the rain that loves all leaves;
friendlywelcome of the wayside well;
color of the
ground
was
in
The
of the bird that dares the sea;
gladnessof the wind that shakes the corn;
The
pity of
The
secrecy
courage
Under
that hides all scars;
their way
of streams
that make
the
snow
the mountain
to the rifted
rock;
The tolerance and equity of light
That gives as freelyto the shrinking flower
As to the great oak flaring
to the wind
"
*Revised
version: 1919.
TESTS
QUALITY
To
the
He
hill as to the Matterhorn
grave'slow
shoulders
That
out
the
the valorous
drank
41
the
from
sky. Sprung
youth of a new
West,
world.
strengthof virginforests braced his mind,
stilled his soul.
The hush of spaciousprairies
oaks in acorns; and his thoughts
His words were
Were roots that firmlygriptthe granitetruth.
The
Up
One
To
log cabin
from
fire was
his
on
send the keen
ax
to the
Capitol,
resolve
one
spirit,
to the root of wrong,
for the feet of God,
free way
The eyes of conscience
his deed the
To make
Clearinga
He
built the
So
And
on
of
measure
a
stroke,
man.
the
that set
blow:
in Illinois
ax
peoplefree.
a
Captain with the mighty heart;
the judgment thunders
splitthe house,
the
when
Wrenching
He
swung
the pen
came
testingevery
he built the State,
as
rail-pile
splendidstrengththrough every
Pouring his
The gripthat
Was
"
held the
their ancient
the rafters from
ridgepoleup,
rest,
and
spiked again
He held his place
The rafters of the Home.
Held the long purpose
like a growing tree
Held on through blame and faltered not at praise.
And when he fellin whirlwind,he went down
As when a lordlycedar,green with boughs,
Goes down
with a great shout upon
the hills,
And leaves a lonesome
place againstthe sky.
"
"
Edwin
"
II. Exercise for Attack with the
We
use
short quick commands
ExplosiveDiaphragm
of the
this movement
or
Markham.
for
diaphragm for
unusually strong
HOW
42
TO
SPEAK
The
sudden, powerful contraction force
the breath out in strong explosions.The ribs musi
inward as this takes place,as that makes
not move
the tone unsteady and lessens its carrying power
the ribs out, make
1. Hold
a
sharp, quick con
traction of the upper
abdominal
muscles, and sa?
Halt !" Let the breath out all at once
very forcibly
with words like help,hark, hello,stop
Continue
out on
one
wo: n
no, whoa, lettingall the breath
and taking in more
instantlyfor the next one.
passages.
"
take
2. Then
the sustained and
' '
Hark
told
by
sentences
some
the
that combine
"
bot!
explosivediaphragm.
! Fusillade !Is it true that
! Cannonade
wa*
the scout?"
3. Recite
the
hold the ribs out
contraction
ti
followingpoems,
taking care
forciblyall the time,whether thr
is sudden
and
clamatory thoughts, or is
the longerexpressions.
UNCLE
strong for the short
even
and
sustained
e#
f"
SAM
See that tallman
And
coat and
with stars upon his hat
trousers stripedwith red and
white,
With piercingeye and pointed beard?
Well, that
Is Uncle Sam.
He will not seek a fight;
Would
rather suffer long to keep the peace
And never
dodges at a random shot.
But after patienceand forbearance
cease
To bear the fruit of virtue,he is not
Responsible for what transpires.And when
He shuts his teeth,rolls up his sleeves and bows
His neck in righteousindignation,
then
Be they deceitful friends or honest foes,
TESTS
QUALITY
tries to
Who
scare
capture this old
or
Little owlet in the
ashamed
I'm
are
You
glen,
ungrammatical
should
say,
"To
you
"To
who!
do.
to whom!"
whom!
to who!"
small
Your
friend,
Katy-did,
Miss
'tis true,
be green,
May
But
Hudspeth.
of you;
speaking as
Not,
"
OUT!
William
"
In
scout
have to say is this" LOOK
Well, all we
You
43
you
heard
never
her say,
"Katydo!shedo!"
|p from
the South, at break
day,
fresh dismay,
a shudder
bore,
to Winchester
[ringing
air with
pe affrighted
likea herald in haste,to
terrible
me
pd
'he
was
Sheridan
on
once
along the
louder
horizon's
yet into Winchester
of that red
and
door,
roar,
more,
twenty miles
wider stillthose billows of
'hundered
nd
the chieftain's
grumble, and rumble,
the battle
felling
And
of
away!
war
bar;
rolled
uncontrolled,
laking the blood of the listener cold,
s he thought of the stake in that fieryfray,
And
Sheridan
twenty miles away!
roar
"ut there is
a
good, broad
road
sea
from
Winchester
town,
highway leading down:
TO
HOW
44
SPEAK
morning light,
A steed as black as the steeds of night
to pass, as with eagleflight;
Was seen
the terrible need,
As if he knew
with his utmost
He stretched away
speed;
but his heart was
Hills rose and fell,
gay,
there,through
And
the flush of the
Sheridan
With
fifteen miles away.
those swift hoofs,thundering south,
dust, like smoke from the cannon's mouth,
from
Stillsprang
The
Or the trail of
Forboding
a
comet, sweeping faster and faster,
heart of the steed and
The
of disaster.
to traitors the doom
the heart of the master
beatinglike prisonersassaultingtheir walls,
Impatient to be where the battle-field calls;
strained to full play,
of the charger was
Every nerve
Sheridan
With
only ten miles away.
Were
spurning feet,the road
Like an arrowy
Alpine river flowed,
behind
And the landscapesped away
Like an ocean
flyingbefore the wind;
And the steed,like a bark fed with furnace ire,
Swept on, with his wild eye full of fire;
But, lo! he is nearing his heart's desire;
of the roaringfray,
He is snuffingthe smoke
With Sheridan
only five miles away.
Under
firstthat the
The
Of
his
generalsaw
then
and
stragglers,
What
done?
was
what
dashed
down
And
the
The
sightof
wave
of
the
the groups
the retreatingtroops;
to do? a glancetold him
both,
oath,
'mid a storm of huzzas,
the line,
becau
retreat checked its course
there,
master
compelled it to pause.
Then, strikinghis
He
were
spurs, with
a
terrible
QUALITY
ith foam
and
TESTS
with dust the black
45
chargerwas gray;
nostril's play,
y the flash of his eye, and the red
to the whole great army
to say
e seemed
I have
brought you
Sheridan
Winchester
From
town
urrah! hurrah
for Sheridan!
urrah! hurrah
for horse and
Lnd when
their statues
all the way
the
to save
:
day!"
man!
placed on high,
of the Union sky,
nder the dome
soldier's Temple of Fame,
'he American
here,with the gloriousgeneral'sname,
bold and bright:
e it said,in letters both
is the steed that saved the day
jHere
|ycarryingSheridan into the fight,
Winchester
From
twenty miles away!"
are
"
Thomas
"
THE
[ave you
'Tis
ever
NIGHT
Buchanan
WIND
heard the wind
go
"Yoo-oo-oo-oo"?
pitifulsound to hear!
to chill you through and through
seems
With a strange and speechlessfear,
the voice of the night that broods outside
When
folk should be asleep,
and many's the time I've cried
many
'o the darkness brooding far and wide
Over the land and the deep:
Whom
do you want, O lonelynight,
That you wail the long hours through?"
id the night would say in its ghostlyway:
a
"Yoooooooo!
Yoooooooo!
Yoooooooo!"
Read.
My
told
mother
I
(When
long
me
ago
little tad)
a
was
SPEAK
TO
HOW
46
wind
wailing so,
had been bad;
Somebody
in bed,
I was
A.nd then, when
snug
That
the
when
I'd
of what
think
And
up
round
mother'd
my
head,
my
said,
boy she meant!
been bad to-day?" I'd ask
"Who's
that hoarsely blew,
Of the wind
the voice would
say in its meaningful
what
wonder
And
And
sent,
pulled
blankets
the
been
I had
Whither
With
went
way:
"Yoooooooo!
Yoooooooo!
Yoooooooo!"
That
this
was
You'll
not
true
allow
I must
believe
"
it,though!
Yes, though I'm quite a model now,
I was
not
always so.
doubt
what
if you
And
things I say,
the test;
Suppose you make
Suppose, when you've been bad some
And
up
From
Suppose
And
For
to bed
are
mother
sent
and
day
away
the
rest
"
has been bad?"
ask, "Who
then you'll hear what's true;
you
the wind
will
moan
in its ruefullest
tone:
"Yoooooooo!
Yoooooooo!
Yoooooooo!"
"Eugene
Field,
TO
HOW
48
Morn
and
Have
I
night and day,
pilotedyour bay,
eve,
free and
Entered
anchored
the fleet and
Burn
SPEAK
fast at the foot of Solidor.
ruin
France?
That
were
wors
than fiftyHogues !
I
Sirs,they know
speak the truth
!
there's a way."
,
"
THE
is the
"What
AMERICANS
and
Look
cheering,my
see
cheer
"They
are
And
a
what
it be that
can
With
littleone?
could
!
see
run,
and
men,
be.
it's all about.
people greet
laughter and joyous
our
father,brown
my
and
shout?"
strong,
hue;
they carry a banner of wondrous
mighty tread they swing along,
I
see
white
stars
on
a
field of blue."
that you see white stars
Look, are there stripesof red and
be true!
be
It must
yes, it must
"You
D
Bwwnin(
what
see
I hear
Now
.
the noise in the street may
and the marching feet;
the drums
And
With
D
Robert
COME
Oh, that my blinded eyes
Hasten, boy, to the window
Who
Sirs,believe
say
on
blue?
white?
"
Oh, dear God! if I had my sight.
wide,
Hasten, son, flingthe window
kiss the staff our flagswings from,
Let me
with pride,
And salute the stars and stripes
come!"
For God
be praised,the Americans
Wilbur*
"Elizabeth
1
The
poem
is based
the time of the entrance
speaking to his son. The
upon
an
of our
words
incident that occurred in France 1
troops into Paris. A blind soldier I
set to music by Fay Foster.
were
TESTS
QUALITY
H.
49
Exercise for the Glottis Stroke
stroke is made by a momentary closglottis
jpgof the glottis,by means of which the breath is
and accumulated; and then by discharging
parred
It produces a sound similar to an ent all at once.
pronunciationof the letter p.
;fergetic
Say words beginning with vowels, trying not to
the muscles of the throat and consciously
Contract
startingeach sound at the diaphragm.
I "Are you? Is it? Up she goes! Imagine!"
The
i
If
a
tone
is started
"purethroughout;but
one
into it.Either
comes
leard has
one
right it
a
is
likelyto remain
should see that no tightness
emotion
or
desire to be
a
tendency to lengthen out the tone, and
should listen to
see
hardness
that there is no
or
[rasping
qualityin it. One must take enough breath
to insure this. Many times one starts a tone with
but
breath,
has to finish it by
of the throat because
iV. Exercise
for
1. Choose
the
cles
contractingthe mussupply runs out.
Testing the Lengthened
Tone
emotional
words, such as mourn,
home
and glory.Say them
with feeling,
lonely,
to the qualityand taking care
to keep it
[istening
smooth
and
2.
a
Say
musical.
having several emotional words,
ivith full appreciationof the meaning: "Oh, the
the years are long,but the little
years are
many,
verse
toy friends are
3. Take the
dryingto make
true."
same
some
with the
sentence
one
at
a
noted that the vowels and
thought
of
distance hear. It will
the musical
eonso-
HOW
50
TO
SPEAK
produce this humming effect as the tone is
lengthened.
the followingpoems,
which exPractice reciting
press
Enter into the spirit
of the selections,
deep feeling.
givingenough attention to the humming
qualityof the lengthened words to see that it is
pure throughout.
nants
TOWN
LITTLE
O
OF
BETHLEHEM
Bethlehem, how stillwe see thee lie!
Above
thy deep and dreamless sleep the silent stars
go by:
Yet in thy dark streets shineth the everlasting
Light;
in thee
The hopes and fears of all the years are met
to-night.
O littletown
of
For Christ is born
Mary, and, gathered all above,
mortals
While
sleep, the angels keep their watch of
wondering love.
O morning stars,together proclaim the holy birth!
And praisessing to God the King, and peace to men
onr
of
earth.
the wondrous
how silently,
giftis given!
silently,
hearts the blessingsof His
So God
imparts to human
How
heaven.
No
ear
Where
may
meek
enters
O
holy Child
Cast
out
our
hear His coming, but in this world of sin,
the dear Christ;
souls will receive Him
still,
in.
of Bethlehem!
sin,and
We
hear the Christmas
Oh
come
to us, abide
Descend
to us,
we
pray;
in
us
to-day.
in,be born
angels the great glad tidingstell;!
enter
with us, Our
Lord
"
Emmanuel!
PhillipsBrooke
TESTS
QUALITY
MY
LAD
the deep-blue water, marching to throb
toward
Down
AND
LAD
YOUR
51
of drum,
trom city street
country lane the lines of khaki
and
come;
rumbling guns,
appeal,
The
While
rays
flash back
sunshine
of western
full of
sturdy tread,are
the
grim
nished
bur-
from
steel.
[With
eager
eyes
and
cheeks
aflame, the serried ranks
advance;
And
your
dear
lad,and
my
dear
lad,are
on
their way
to
France.
as fileon file
clingschoking in the throat,
sweeps by,
jBetweenthose cheeringmultitudes, to where the great
shipslie;
[The batteries halt,the columns wheel, to clear-toned
bugle-call,
-With shoulders squared and faces front they stand a
A sob
khaki
iTears shine
wall.
on
every
glance;
dear lad,and
cheek, love speaks
watcher's
in
every
[For your
my
dear
lad,are
on
their way
to
France.
Before
them, through a mist
blue,
Brave
comrades
The
from
a
proud review;
old Flag, the
same
of years, in soldier buff
thousand
same
fields watch
old Faith
"
now
or
in
the Freedom
of the World-
pellsDuty in those flappingfolds above
unfurled.
long
ranks
HOW
52
Strong
TO
the hearts
are
SPEAK
which
bear
along Democracy'
advance,
As your
dear
lad,and
dear
my
lad,go
on
their way
tc
France.
word
The
rings out;
million feet tramp
a
forward
on
the road,
that
Along
of sacrifice o'er which
path
their fathers
strode.
With
eager
These
smilinglips,
of
fightingmen
Nor
and
eyes
love may
even
cheeks
'17
move
hold them
aflame, with
onward
back,
cheers
to their
on
ships.
halt their stem
or
advance,
As your
dear
lad,and
dear lad, go
my
on
their way
to"
France,
,
D
Hanaalt
"
THE
Every
77
.
VETERANS
they'remarching slower,
Every year they'restoopinglower,
music stirsthe hearts of older
Every year the lilting
Every year the flagsabove them
Seem
As
,
D
rarnsh,(
year
to bend
and
bless and
men
love them
if grieving for the future when
they'llnever
marchl
again!
That
Every
year
that
Every
year
this truth
the
men
Southern
Soon
must
From
the
Soon must
answer
who
day
saved
draws
nearer
"
is clearer
the nation
from
the
severing1
sword
pass
away
forever
of their endeavor,
to the roll call of the angelof the Lord.1
scene
53
TESTS
QUALITY
Every year with dwindling number,
Loyal stillto those that slumber,
iForth
they march to where already many
peace at last,
And
they place the fairest blossoms
O'er the silent,mouldering bosoms
Of the valiant friends and
have
found
of the battles of
comrades
the past.
Every
Tattered
Every
year
to
dimmer, duller,
flag and faded color;
year
grow
the hands
that bear them
find
a
harder
task
dim
and
do,
the eyes that only brightened
the blaze of battle lightened,
When
And
Like the tattered flagsthey follow
faded
are
grown
too.
Every year we see them massing,
Every year we watch them passing,
Scarcelypausing in our hurry after pleasure,after gain,
above them
But the battle-flags
Seem to bend and bless and love them,
music sounds an undertone
And through all the lilting
of pain !
Denis A McCarthy.
"
.
In
placeswhere there is a decided downward
either at the end
of
a
sentence
or
flecti
in-
where
strong emphasis is needed, a person'svoice is likely
to drop into a croaky, disagreeable
quality,which
is not only unpleasant to the ear, but inadequate,
is concerned. The following
so far as carryingpower
exercise is simple,but very effective in correcting
this habit.
Exercise
V.
for
Before
raise
which
in
you
having
word
a
so
is right.
Lift
order
thought
the
to
as
Give
Say:
In
that
that
care
end,
the
but
to
end
feeling
an
instant
croaky
Let
me.
avoid
to
and
the
of
see
me
the
drop
tone
at
quality
it.
up.
I
Do
behind
the
afterward.
naturally
each
ing
tak-
ning,
begin-
the
at
like
it
the
end.
it.
Thati
like
effect,
mechanical
a
pitch
inflection,
lifted
are
the
of
sentences,
strong
words
eliminate
it
let
short
Say
requires
such
it
and
pitch.
inflection,
level
general
speaking
are
higher
the
from
the
above
tone
Pure
downward
usual
the
Tone
the
of
End
the
Keeping
making
the
SPEAE
TO
HOW
54
lines,
not
this.
keep
only
to
HOW
56
Yarmouth
of it
out
sands, with
for a chimney."
Notice
the
of
rate
an
iron
the
speed and
funnel
some
of
the
pitch
effort
of the
tone.
effort.
LULLABY
in khaki
men
sticking
amount
following, using moderate
A
Because
SPEAK
in
difference
the
needed, the
Recite
TO
coats
marching
are
out
to
war,
Beneath
a
Because
they will
little
Because
baby far
stop
nor
as
proudly
stay, but
as
beforey
march
withr
sleeps safely in her bed.
away
grim,
some
each
Where
not
floats
tread
eager
A
old flag that
torn
gray
dull shadow
sentinels
falls and
stand
always silently,1
floats
a
upon
restless*
sea;
their
Because
lonely watch
wakeful
A
Like
birds
safely sleep until the
swift
some
guard
keen
and
eyes,
little child may
Because
they keep with
on
or
and
shadowy
shall rise.
sun
things hold
patienti
high,
sails
or
shielding wings against
a
stormy^
sky;
Because
a
strange light spreads and
darkened
A
little
sweeps
across
a
way,
baby softly sleeps until the dawn
"
of
day.
G. R. Glasgow.*
RADIATION
57
the shores that your forefathers hailed from.
the flagsthat they fought for afar,
Whatever
Whatever
I
i
Whatever
I To-day
the lands that yourselvesmay have sailed from,
cherish the land where you are.
you must
"ro-dayyou
Untroubled
by
Jjid
even
1
Have
of
nations,
its
spiritaccurst;
againstracial temptations,
souls
this be your
this Nation of
I Has welcomed
and
war
to,guarding your
I Let
of this Nation
sons
are
motto:
"
America
first!"
every people has greeted,
them
in to partake of her cheer;
ours
the
felt
humblest, despisedand defeated,
themselves
when
selves
men
they found themhere.
the victims of systems and dynastiesroyal
I With her have found freedom, their dreams to fulfill,
be disloyal
surelysuch hearts will not now
JLnd
of peace and good-will.
To her and her spirit
bod keep from our shores the
I God keep from our country
theyspeak not
I
the mind
dread
the
issue of
curse
abhor,
we
of the Nation
battle;
who
prattle
So
lightlyof plunging the land into war.
put if,proving futile our peaceful endeavor,
I The tempest of war on our borders should burst
"
then,whatsoever your race, you must never
jThen,
j Forget the great watchword, America first!"
"
"Denis
A
lagged,uncomely
woman
bid
)ne
walked
through the
saw
ROYAL
and
in
Northern
crowd
her loiter and
Puttingsomething
as
gray,
town;
she wound
her way
stoop down,
away
McCarthy.
HEART
old and
a
A.
in her
ragged
gown.
HOW
58
TO
SPEAK
hiding a jewel,"a
(Ah ! that was her heart, had
"What
are
hiding?" he
you
''You
Then
And
She
To
watcher
are
said,
the truth been
read.)
asked
again.
the dim eyes filledwith a look of pain,
him her gleaning."It's broken
she showed
said,"I hae lifted it up frae the street
be oot o' the way
Under
That
Would
the
was
glass/
o' the bairnies' feet."
fluttering
rags astir,
a royal heart that beat!
that the world
Smoothing
had
like
more
her,
the road for its bairnies' feet.
"Will
THE
Pipes of
PIPES
AT
E.
Ogilvie.
LUCKNOW
the
misty moorlands,
Voice of the glens and hills;
The droning of the torrents,
treble of the
The
the braes
Not
maiden
Have
And
To
bower,
heard
your
to the Lowland
Dear
and
of bloom
the mountains
Nor
Nor
rills!
dark
nor
heather,
with rain,
border
tower,
strain!
sweetest
reaper,
plaided mountaineer,
"
the cottage and the castle
The Scottish pipes are dear;
"
Sweet
sounds
O'er
But
the ancient
pibroch
mountain, loch, and glade;
the sweetest
The
pipes at
of all music
Lucknow
played.
RADIATION
59
Day by day the Indian tiger
Louder
crept;
yelled,and nearer
and round the jungle-serpent
Round
and
Near
circles swept.
wives and mothers,
nearer
"Pray for rescue,
Pray to-day!" the soldier said;
"To-morrow, death's between us
And
and
the wrong
shame
"
dread!"
we
looked, and waited,
Oh, they listened,
Till their hope became
despair;
And the sobs of low bewailing
Filled the pauses of their prayer.
Then up spake a Scottish maiden,
With
her
"Dinna
The
ye
the
unto
ear
hear
pipes o'
Dinna
it?
"
Havelock
the wounded
Hushed
ground:
hear
ye
sound!"
his
man
groaning;
the wife her littleones;
they heard the drum-roll
Hushed
Alone
And
But
roar
to sounds
The
As
the
mountain
Like the march
Sepoy
of home
Highland
her mother's
The
of
ear
guns.
and
was
childhood
true;
"
cradle-crooning
pipes she knew.
of soundless
music
Through the vision of the seer,
More
of feelingthan of hearing,
Of the heart than
She knew
She
"Hark!
The
of the ear,
droning pibroch,
knew
the Campbell's call:
hear ye no MacGregor's,
grandest o' them all?"
the
it?
TO
HOW
60
SPEAK
dumb
and
Oh, they listened,
And they caught the sound
breathless,
at last;
beyond the Goomtee
Rose and fell the piper'sblast!
Then a burst of wild thanksgiving
voice and man's;
Mingled woman's
of Havelock!
be praised! the march
"God
The piping of the clans!"
far
and
Faint
"
Louder,
Sharp
fierce
nearer,
the wild
Came
swords
as
Stinging all the air
But
when
vengeance,
strife,
MacGregor's clan-call,
shrill
and
as
at
to life.
the far-off dust-cloud
plaided legionsgrew,
Full tenderly and blithesomely
blew!
The pipes of rescue
To
of
the silver domes
Round
Moslem
Lucknow,
and Pagan shrine,
to Britons
dearest,
Lang Syne.
mosque
the air
Breathed
air of Auld
The
O'er the cruel roll of war-drums
the
And
the
As
to the corn-land
Dear
And
To
strain;
tartan clove the turban,
cleaves the plain.
Goomtee
and
that sweet
Rose
the
"
But
is dear.
the Gaelic
of all music
the sweetest
The
the castle
pibroch
mountain, glen,and glade;
sounds
O'er
reaper
plaided mountaineer,
the cottage and
The
piper'ssong
Sweet
homelike
Pipes at
Lucknow
"
John
played!
GreenleafWhittier.
RADIATION
SLAVE
The
EMPEROR
AND
mocked
emperor
at Nazareth
his almighty hour.
In
The
slave that bowed
And
walked
What
that "will to
He
black
defeat
heard
power."
of
all,
began,
the mountains
quake,
felt the graves beneath him shake,
watched
his legionsrallyand break,
And
he whimpered as they ran.
emperor
"I hear
A
Will
For
What
Then
shout
a
cry
no
all my
is this that
breaks
all around
darkness
"The
armies
was
at the
of the dead
an
come,
dumb?
to birth
comes
power?'7 he said.
filledwith
whispered
they
his foundering guns,
dawn
That
Beneath
my
earth,
the dead!
are
messengers
power
the
moves
whence
tell me
Though
The
that
that wakes
one
And
The
hour
in the darkest
When
He
death
to
slaves in Nazareth,
his words but wasted
breath
Before
The
himself
with
were
Yet,
61
Eastern
blows
now
far,
not
livingfear
emperor's ear,
a
draw
near
star."
Nazareth,
The Slave is risen again!
Across the bitter wastes
of death,
The horsemen
ride from
Nazareth,
1
trumpet
in
Copyright, 1919, by Frederick A. Stokes Company.
This poem
written at the time of the capture of Nazareth.
was
"Our
was
inspiredby a heading in one of the London newspapers:
from the enemy
whose
valry have rescued Nazareth
supermen
scribed Christianity
as
a creed for slaves."
HOW
62
And
the Power
To
mocked
wasted
as
breath
reign;
white,through Nazareth,
His world again.
AlfredNoyes.
in
on
we
in power
Returns
Rides
SPEAK
TO
save
to
"
LITTLE
THE
Oh,
TOWNS
and
in Arkansas
littletown
in
littletown
Maine,
the plai
valleytown and hamlet on
Salem, Jackson, Waukesha, and Brookville and Peru
San Mateo
and Iron town, and Lake and Waterloo,
Little town we laughed about and loved for homely wa?
Quiet streets and garden beds and friendlysunlit day*
And
littlesheltered
Out
of you
Little town
the soldiers came,
of homely name.
and
strong and brave
Young
They
laughter
followed after./
truth and
saw
with
Little town, the birth of them
Makes
you kin to Bethlehem.
Little town
where
Jimmy
Little town
where
Manuel
Russian
Where
Steve
McQuade
Worked
all day
Where
Allen
Harper's
Planned
a
Brown
ran
the grocery
fished
was
along the shore.
carpenter, and Sandy I
in overalls at his mechanic's
Perkins
stoi
practiced law,
trade.
John, Jud
and
son,
littlehouse
for two
that
shall be done
never
Little town, you gave them all,
Rich and poor and great and small.
Bred
them
clean and
Sent
them
forth to
straightand
rightthe
strong,
wrong.
Little town, their gloriousdeath
Makes
you kin to Nazareth.
"
Hilda
Mow
SPEAK
TO
HOW
64
Ring out the old,ring in the new,
the snow:
Ring, happy bells,across
The
is going,let him
year
go;
Ring
out
the false,ring in the true.
Ring
out
the griefthat saps
For
that here
those
the mind,
see
we
more
no
Ring out the feud of rich and
Ring in redress to all mankind.
Ring
out
slowly dying
a
Ring
of
forms
ancient
And
With
sweeter
Ring
out
manners,
poor,
cause,
party strife;
modes
in the nobler
;
of life,
purer
laws.
the want, the care, the sin,
faithless coldness of the times;
The
Ring out, ring out my mournful
And
ring the fuller minstrel in.
rhymes,
pride in place and blood,
The civic slander and the spite;
Ring in the love of truth and right,
love of good.
Ring in the common
Ring
out
false
Ring
out
old
Ring out
Ring out
Ring in the
Ring
thousand
in the valiant
of peace.
years
and
man
free,
largerheart, the kindlier hand;
The
Ring
Ring
shapes of foul disease;
the narrowing lust of gold;
of old,
the thousand
wars
out
the
of the
darkness
land,
in the Christ that is to be.
"
AlfredTennyson.
RADIATION
CONCORD
65
HYMN
(Sung at the completion of the battle monument,
April 19, 1836.)
bridgethat arched the flood,
Their flagto April'sbreeze unfurled,
farmers stood,
the embattled
Here once
the rude
By
fired the shot heard
And
round
the world.
The foe long since in silence slept;
the
Alike
the ruined
Time
And
conqueror
silent
sleeps;
bridge has swept
that seaward
the dark stream
Down
creeps.
bank, by this soft stream,
We set to-day a votive stone;
their deed redeem,
That memory
may
are
our
sons
When, like our sires,
gone.
On this green
that made
those heroes dare
Spirit,
To die,and leave their children free,
Bid Time and Nature gently spare
The
shaft
we
raise to them
"
BELGIUM
ihe nightwas
still.The
he sang. Her maidens
uddenly, wild echoes
Their foes
come
Theyrush
like thunder
,
.
.
Someone
THE
and
Thee.
Ralph Waldo
Emerson,
BAR-LASS
king sat with the queen,
spun. A peacefulscene,
shake
the castle wall
crashingthrough
down
the
the outer
"
hall;
galleryfloor.
.
.
.
has stolen the bolt that bars the door.
pin to hold the loops,no stick,no stave.
Nothing!An open door,and open grave!
TO
HOW
66
Catherine
Then
Bar-Lass
SPEAK
thrust
her naked
arm,
and warm),
(A girl's
arm, white as milk and soft
Right through the loops from which the bolt was
until they break the bone"
"'Twill hold," she said
My King, you have one instant to prepare!"
gone
"
She said
no
because
more,
the thrust
was
there.
king,
(Men sing
The Poet, and Catherine Bar-Lass.
moment
For aye the deed one
brings to birth
of our
the ransom
Such moments
earth.)
are
of our
Western
world,
Brave Belgium, Bar-Lass
Who, when the treacherous Prussian tyrant hurled
hand,
His hordes againstour
peace, thrust a slight
So firm to bolt our portals and withstand;
the glory in our affray
Whatever
prove
Thy arm, thy heart,thy act, have won the day.
A. Mary F. Robinson
(Madame Duclaux]
I heard
Oft have
the tale of Scotland's
"
"
(From "Poems
Company.)
of the
Great
War,"
published by The
Macmilla
LINCOLN
Hurt
was
the nation with
a
mighty wound,
sound;
Wailed loud the South with unremitting grief,
And
wept the North that could not find relief;
madness
Then
joinedits harshest tone to strife
And
all her ways
were
filledwith
clamorous
"
swelled in the song of life.
with the love that filledhis breast,
Till stirring
A
minor
note
right'sbehest,
Grave
Lincoln came,
strong-handed from afar,
of the lyre of war.
A mighty Homer
'Twas he who bade the raging tempest cease,
Wrenched
from his harp the harmony of peace;
the discord Wrong,
the stringsthat made
Muted
And gave his spirit
up in thund'rous song.
But
stillunflinchingat the
67
RADIATION
Oh, mighty
and
Earth
heard
Earth
learned
And
mighty lyre,
trembled at thy strains of fire;
thee what Heaven
alreadyknew,
of the
master
of
thee down
wrote
her chosen
among
knightly heart
in ancient
Enshrined
the battle-field of France!
Behold
Gone
Yet
A
a
grim
Roland
jeweledsword,
picturesque
and
hideous
or
Lion
or
a
array.
word!
the world
walk
heroes
Launcelot
A
and
pomp
is
War
crest and
and
plume
Gone
chivalry,
of high romance
poetry.
dust the
dust! Not
The
Dunbar.
KNIGHTS
THE
Not
Laurence
Paul
"
few.
to-day.
Heart?
Godfrey
bold?
Nay, simple lads that bear their part
As gallantly
as
knights of old.
legionsswinging by,
Our bonny sailors proudly free;
The dauntless champions of the sky,
The dragon-chaserson the sea!
Our
lithe brown
A thousand
Sidneys
Of blessedness
And
pass the cup
fields of
on
blood;
Bayards offer up
joyous hope for others' good.
countless
Their
nobly bold,
Nor bodies built so stronglyfair.
The tree of lifehas not grown
old,
But blooms
to-day beyond compare!
Never
were
hearts
Copyright,1918, by Harper
so
" Brothers.
TO
HOW
68
No
we
more
And
gloryin
yearn
to
see
SPEAK
the past
those kings of
men.
peerlessknights arise at last,
And epic deeds are done again.
Abby Farwell Brown.
The
"
VOTER
POOR
THE
ON
DAY
ELECTION
is but my
proudest now
peer,
The highestnot more
high;
To-day, of all the weary year,
I.
A king of men
am
To-day, alike are great and small
The nameless and the known;
My palace is the people'shall,
The
ballot-box
The
Who
Alike
The
the
served
rich is level with
The
And
upon
the list
shall
stand;
and wrinkled fist,
the brown
gloved and dainty hand!
Beside
The
to-day
serves
throne!
my
the poor,
is strong to-day;
counts
sleekest broadcloth
Than
weak
homespun
no
more
frock of gray.
and vain pretence
To-day let pomp
My stubborn right abide;
I set a plain man's
sense
common
Against the pedant's pride.
try
To-day shall simple manhood
The strengthof gold and land;
The wide world has not wealth to buy
in my
The power
righthand !
RADIATION
While
there's
69
griefto seek redress,
Or balance to adjust,
less
Where
weighs our livingmanhood
vilest dust,
Mammon's
Than
While there's a rightto need my
vote,
a
"
A
to sweep
wrong
away,
Up! clouted knee and ragged coat!
A man's
a man
to-day!
John GreenleafWhittier.
"
4. Make
the tone sound
ifit were coming from
of what is being
reflection
as
long distance, the
Place the
Isaid far away.
a
"
^onance chambers
tone
far back
in the
res-
and
partiallyclose the mouth to
givea covered effect. As you speak, try to picture
|the distance it is coming from. The thought helps
!to give the far-away sound.
Call: help,fire,
making
stop, go on, come
on,
jthem sound as if they were coming from across the
"
[street. Close
your
(distance.
Say:
"
dreamy,
The
in reminiscent
eyes,
if necessary,
Strike your
remote
sound
to
sense
the
flag!" "Blow, bugle,
the
voice takes
on
subjectiveexpressionis akin to
this condition. Work
the following,tryingto
on
get the required reflected tone:
or
BUGLE
The
splendor falls on
And
The
snowy
summits
long lightshakes
SONG
castle walls
old in story;
the lakes,
across
leaps in glory.
Blow, bugle,blow, set the wild echoes flying,
Blow, bugle;answer, echoes,dying,dying, dying.
And
the wild cataract
SPEAK
TO
HOW
70
O, hark, 0, hear! how thin and clear,
farther going!
And
thinner,clearer,
far from
and
O, sweet
Blow,
let
faintlyblowing!
purple glens replying!
echoes,dying, dying, dying.
hear the
us
Blow, bugle; answer,
O
love,they die
They faint on
Our
And
in yon rich sky,
hill or field or river;
soul to soul,
roll from
echoes
scar
of Elf land
horns
The
cliffand
grow
for
and
ever
for
ever.
Blow, bugle,blow, set the wild echoes flying,
And
echoes,answer, dying, dying, dying.
answer,
AlfredTennyson.
"
When
last
Earth's
twisted and
When
pictureis painted and the
tubes
are"
dried,
the youngest
faded, and
the oldest colors have
critic has
We
shall
died,
rest,and, faith,we
or
aeon
an
it
"
lie down
Workmen
shall put
and
Sunset
And
When
such
evening star,
clear call for me!
one
may
there be
no
of the
to sea,
tide
moving
seems
and
foam,
a
that which
Turns
moaning
I put out
as
full for sound
Too
"L'Envoi.")
BAB
THE
CROSSING
When
to"
Rudyard Kipling.
(From
But
us
anew.
"
And
for
two,
of All Good
Till the Master
work
shall need
drew
again home.
from
out
bar,
asleep,
the boundless
deep
the
Where
SPEAK
TO
HOW
72
stand
minster-towers
breeding kestrels cry.
brother
I change with my
Would
shoal!) Not I!
(Shoal! Ware
the
And
a
league inland?
Rudyard Kipling\
"
Bell
(From "The
CUMBERLAND
THE
Hampton Roads we lay,
On board^ofthe Cumberland, sloop of
in
At anchor
at times
And
Or
the fortress
from
alarum
The
of drums
across
the
war;
bay
swept past
bugle blast
a
the camp
From
the shore.
on
far away
to the south uprose
littlefeather of snow-white
smoke,
Then
A
And
our
foes
steadilysteeringits course
Was
try the force
To
Of
that the iron ship of
knew
we
ribs of oak.
our
heavily runs,
Silent and sullen,the floating
fort;
from her guns,
Then comes
a puff of smoke
And leapsthe terrible death,
With fierybreath,
From
each open port.
Down
We
not
Defiance
As
us
upon
are
idle,but send her straight
back
in
Rebounds
each
a
from
hail rebounds
From
Buoy.")
our
full broadside!
a
roof of slate,
heavier
iron scale
Of the monster's
hide.
hail,
73
RADIATION
flag!"the rebel cries
In his arrogant old plantation strain.
"Never!"
gallant Morris replies,
our
"It is better to^sinkthan to yield!"
the whole air pealed
And
"Strike your
the cheers of
With
our
men.
black,
ribs in her iron grasp!
She crushed our
all a wrack,
the Cumberland
went
Down
With a sudden shudder of death,
like
Then,
kraken, huge
the cannon's
And
For her
Next
a
as
Still floated
Every
our
the bay,
flagat the mainmast head.
sun
waft
rose
was
over
Thy day!
of the air
whisper of prayer,
dirge for the dead.
Was
a
a
are
in the troubled
at peace
in the seas!
down
brave hearts that went
Ye
Ho!
the
beautiful
Lord, how
Ho!
breath
dying gasp.
morn,
Or
and
stream;
brave land! with hearts like these,
Thy flag,that is rent
Shall be one again,
And
without
a
"
in
twain,
seam!
Henry
Wadsworth
Longfellow.
Shout,tryingto keep the qualitypure, by makwith the diaphragm. The whole body
ng the effort
hould be strong, and the need of sensingthe space
very important.
Give the calls suggested in the previous exer5.
ise.
TO
HOW
74
don,
for your
boats on
run
ter your
feel
should
One
Pinckney and Tentershallops,gather your men, scaii
the lower bay."
Starbuck
Call: "Ho,
SPEAK
and
muscular
decided
a
reaction
peat
through the whole body as the tones go out. Rewith a great deal of strength,
as if shoutingtc
the following:
a body of soldiers,
WARREN'S
Stand!
AT
ADDRESS
ground's your
The
HILL
BUNKER
my
own,
braves!
Will ye give it up to slaves?
Will ye look for greener graves?
Hope
the mercy
despots feel?
!
it in that battle-peal
What's
Hear
Read
it
on
steel!
bristling
yon
will.
ye who
it
Ask
"
Fear
still?
mercy
ye
kill for hire?
foes who
ye
retire?
Will ye to your homes
Look behind you! They're afire!
And
before
On
they
come
may
we
quail?
be!
of battles trust!
In the God
"
But, O, where
Be
will ye
iron hail
their welcome
Let
Die
and
"
rain and
Leaden
the vale
it! From
done
have
Who
see
you,
and
can
die
we
must;
dust to dust
consigned so well,
As where
heaven
its dews
shall shed
bed,
martyred patriot's
the rocks shall raise their head,
the
On
And
Of his deeds
to tell?
,
"
T
John
.
D
Pierpont.
.
RADIATION
Henry: Once
once
the
unto
more
breach,dear friends,
more,
)r close the wall up with
there's nothing
n peace
Ls
75
the blast of
Jut when
becomes
so
stillness and
modest
English dead
our
blows
war
of the
tiffen the sinews, summon
up
fair
)isguise
with
nature
man
humility;
the action
?hen imitate
a
!
in
our
ears,
tiger:
the
blood,
hard-favor'd
rage:
lien lend the eye a terrible aspect;
jet it pry through the portage of the head
let the brow
overwhelm
ike the brass cannon;
as
fearfully
doth
galledrock
a
and jutty his
j)'erhang
the wild
fwill'dwith
it
confounded
and
wasteful
base,
ocean.
{Tow set the teeth and stretch the nostril wide;
fold hard the breath,and bend up every spirit
Co his full height! On, on, you noblest English,
"
N hose blood
is fet from
Fathers that like
so
fathers of war-proof,
Alexanders,
many
pave in these parts from
Lnd sheathed their swords
Be copy
to
now
Lnd teach
them
limbs
[Vhose
he mettle
were
till even
morn
for lack of
of grosser
men
how
to war!
made
in
"
fought,
argument!
blood,
And
good
you,
England,
shew
hat you
there is
or
here
us
of your pasture : let us swear
worth your breeding;which
are
yeomen.
I doubt
not,
of you so mean
and base
hat hath not noble lustre in your eyes.
stand like greyhounds in the slips,
see
you
none
.
.
.
trainingupon the start. The game's afoot!
'ollow your
and upon
this charge,
spirit;
"God
for Harry, England, and Saint George!
Shakespeare.
"
(From Scene 1,
Act
III, "King Henry
V.")
HOW
76
TO
SPEAK
quality, used so man;
round, orotund
times in large halls and out of doors,is reallyth
low pitch.All the bodil;
result of shouting on
a
strengthused in real shouting is necessary to pro
The
duce
the best results. Such
tones
natural
are
ii
I
and other awe-inspiring
expression
deeplyreligious
One must let himself fillwith the thought and feelj
ing suggestedby the subjectmatter and then reall;
else. If he uses allth
wish to giveit out to someone
technical helps at his command, he may
projecthi
without
tones
straininghis voice to any extent
Practice with thoughts like the following:
Exercise
for
Voice
Projecting the
with
the Orotun
Quality
1.
Say:
"
ye lifted up, ye
Glory shall
2. Recite
heads,O, ye gates; and b
everlastingdoors,and the King c
Lift up your
in."
come
following,keeping the deep
the
ligiousmeaning behind
make
them
to
carry
of
Lord
Beneath
tryingt
multitude.
a
RECESSIONAL
THE
God
and
words
the
fathers,known of old,
of our far-flungbattle-line,
our
awful
whose
Hand
we
hold
palm and pine
Lord God of Hosts, be with us yet,
Lest we forget lest we forget!
Dominion
over
"
"
"
re
Eudyard Kipling.
77
RADIATION
voyaging
in that land where
And
to rest,
pilgrim Mayflower came
the chosen, counselling,
Among
Once, when bewilderment possessed
there was
A people,none
might draw
To fold the wandering thoughts of men,
the names
make
And
again
one
as
Of libertyand law.
The
And
In
then, from fiftyfameless
quiet Illinois was sent
Lincoln
And
the lord of his event.
was
GOD'S
what
And
of friend
foe,
unexpected star,
unforeseen
what
the
that knows
sea
admiral of nations
The
Thy blind,obedient
The
guns
Knew
not
To
What
Who
Who
saw
of Jefferson
the
it but
behind
knew
rides.
future
Lexington
was
planningthen
rightsof
that wept and
was
beach,
guides
no
at
that God
bugle forth
them
thy
spoke
trumpet word
The
To
that
end?
keel to reach
where
harbor
The
or
unchosen
to what
Compelled
Across
country, far
fates,my
new
Beneath
AMERICA
FOR
WILL
Drinkwater.
John
"
To
hears,
that stillthe Atlantic
A word
years
men.
cursed Bull
despairand
the cloud
that God
was
and
Run,
shame?
sun?
in the flame?
Had
defeat
Had
is
Each
do
on
only
I
only
know
each
what
beneath
shall
seas
shall
it
be
shall
planned,
that
bleeds,
command.
dark
its
serves
it
know
we
drum.
deeds
our
than
triumphs,
what
the
bends
issues
know
not
behind
that
country,
Nor
I
hand
that
sin
My
I
a
feet
marched
mightier
To
come,
emancipated
never
There
disaster
on
slave's
The
defeat,
upon
Disaster
SPEAK
TO
HOW
78
sky
be
thy
fate;
high,
be
great.
Richard
"
Hovey.
TO
HOW
80
chanicallyby the
amount
in
through
power,
force
The
majesty
a
uniform
of such
of
tensity
in-
repose
as
noise
mere
and
true
of Emerson's
saying: "What
speaks so loud I can't hear what you say/1
tivated
natural force is that used by the culmost
reminds
are
power,
is reallytrue power.
which
comparison between
The
over
exhibition
any
being and
whole
suggests reserve
you
certain stateliness and
It is the result of
manner.
of the
a
than
of tone, rather
or
poured
force includes the idea of moral
and is manifest
voice
of breath
by the degree of tension of the
the vocal cords and
cords. True
SPEAK
one
voice in conversational
utterances.
In
lation
re-
medium, and
force. Unemotional
is called medium
press
thoughts exthemselves through medium
force,also simple
ness,
narration and description.
Quiet pathos, tenderpressed
and restrained feelingof any kind are exby subdued force;while rejoicing,
anger,
defiance and unrestrained passionsare expressed
scorn,
by full force.
to loud and
Exercises
Say
subdued,
word
some
like go
or
forward,first with]
medium, and
force. Notice that the changes are
in working through
those made
as
to the first degree,medium
now
tone
weak
or
be
much
to the
the
full
same
corresponding
second,and full
tention
that all the at-
directed toward
powerful. Practice
with
grees
the different de-
force
force to the fifth degree.Remember
may
then
with
then
radiation: subdued
of
Force
Acquiringand Measuring
for
1.
soft it approaches a
over
making thef
and
over
FORCE
igainthe words that
have
with
the
familiar
aecome
81
been
suggested,tillyou
changes in the loudness
the voice.
subdued
2. For
force, expressing gentleness,
ittle breath is needed, and there is a relaxed coniition in all the muscles. Repeat to yourselfor to
at your elbow: "I know
a garden fair to
one
some
there be of treasures
see, where haunting memories
the
ost and joys of ours, forgotten,lost among
lowers."
distinct
to be
Try
One
jfaint.
under
jtance
such
and
arts
jthe
make
can
his tones
circumstances
a
DAY
IS
DONE
downward
an
eagle in
his
flight.
the lightsof the village
see
through the rain and
feelingof sadness comes
Gleam
And
a
That
A
my
feelingof
That
And
a
is
feather is wafted
From
I
long
by making use
carry
done, and the darkness
from the wings of Night,
day
Falls
As
the voice is very
tricks of articulation.
THE
The
when
even
soul cannot
resembles
akin to
read to
sorrow
Some
That
And
me
simple and
shall soothe
banish
the
me
resist.
pain,
only
As the mist resembles
Come,
o'er
mist,
and longing,
sadness
is not
the
some
the rain.
poem,
heartfelt
lay,
this restless feeling,
thoughts of day.
disof
TO
HOW
82
from
Not
old masters,
the bards sublime,
the
from
Not
SPEAK
grand
distant footstepsecho
Through the corridors of Time.
Whose
For, like strains of martial music,
Their mighty thoughts suggest
Life's endless toil and endeavor;
to-nightI long for
And
Read
from
Whose
some
songs
showers
As
Or
tears
humbler
poet,
gushed from his heart,
the clouds of summer,
the eyelidsstart;
from
from
through long days of labor,
nights devoid of ease,
Who,
And
Still heard
in his soul the music
melodies.
Of wonderful
Such
songs
have
restless
The
And
rest.
pulse of
to
quiet
care,
like the benediction
come
follows after prayer.
That
Then
power
read
from
the treasured
volume
of thy choice,
And lend to the rhyme of the poet
The beauty of thy voice, j
The
poem
music,
And the cares, that infest the day,
Shall fold their tents,like the Arabs,
steal away.
And as silently
Longfellow.
Henry Wadsworth
And
night shall
the
"
be filledwith
FORCE
83
weariness, the breath is let
out without
any control and is taken in frequently.
the tone to sound
This causes
breathy and suggests
The
body should relax
physical weakness.
this
to help the effect. With
and poise backward
in mind, say: "The
thought of bodily weakness
bitterness of the fighthas faded for me, and I feel
only the love of country and the satisfaction of
For
exhaustion
life for it."
givingmy
The
exercises express
two
next
strong contractions
emotions
that
of the muscles.
Enough
is used to produce loud tones, but by means
energy
the voice is kept low-pitchedand inof restraint,
conspicuous.With the impulse to impart secrecy
"Casca, be sudden! We fear prevenor fear,say:
tion!"
cause
,
or
Then
Catherine
Bar-Lass
thrust her naked
arm,
white as milk and soft and warm)
(A girl's
arm,
jRight through the loops from which the bolt was gone,
j Twill hold," she said,"until they break the bone,
My King, you have one instant to prepare!"
"
"
She said
The
no
because
more
direct
the thrust
was
there.
quotationsin these lines requirethe
restrained force.
In
the
the muscular
following,
contraction
is so
almost to convulsion,the result
strong as to amount
haled
of great revulsion of feeling.
The breath is in-
and
exhaled
Queen Katherine:
I
rapidly.
will,when
before,
Or God will punishme.
I do
you
are
believe,
humble;
nay,
HOW
84
TO
SPEAK
Induced
by potent circumstances,that
and make
mine enemy,
are
challenge
my
shall not be my judge;for it is you
You
You
blown
Have
God's
Which
this coal betwixt
dew
lord and
my
quench!
Therefore,I
I utterlyabhor, yea, from my
soul,
Refuse you for my judge;whom, yet once
I hold my most malicious foe,and think
all
At
a
"
me,
say
"
again,
more,
not
friend to truth.
*
*
*
*
My lord,my lord,
much
I am
too weak
a simplewoman,
To oppose your cunning. You are meek and humblemouth' d;
in full seeming,
You sign your place and calling
and humility;but your heart
With meekness
Is cramm'd
with arrogancy,
spleen,and pride.
tell you,
person's honor than
I must
You
tender
Your
that again
high professionspiritual;
refuse you for my judge.
I do
more
your
"
Shakespeare.
IV, Act II, "King Henry VIII." (Queen Catherine defies
Wolsey).
Scene
3. For
medium
con-:
force,one makes the same
dition as when
practicingfor the second degree of
a room.
radiation, the distance across
Speak in a
clear conversational
tone, avoiding the ordinary
fault of letting
the voice drop too low at the end of*
the line,and using as much
would if
care
as
you
deaf person
knew
there was
a
sittingin the
you
"
back
'
of the
room.
'Dombey sat in the corner of the darkened rooms
in the great armchair by the bedside,and son lay!
FORCE
tucked up
in
warm
disposedon
of the fire and
a
to toast
littlebasket
a
fully
bedside,careimmediately in front
low settee
close to
analagousto
were
85
him
it,as if his constitution
that of a muffin,and itwas
tial
essenquite brown while he was quite
new."
THE
The
MINSTREL-BOY
Minstrel-Boyto
In the ranks
the
of death
His father's sword
is gone,
you'llfind him;
war
he has
girded on,
his wild harp slung behind him.
And
"Land
of song!" said the warrior bard,
"Though all the world betraysthee,
One sword, at least,
thy rightsshall guard,
One faithful harp shall praisethee!"
The
minstrel
Could
fell! but
"
the foeman's
chain
bring his proud soul under;
The harp he loved ne'er spoke again,
For he tore its chords asunder,
And said,"No
chains shall sullythee,
Thou
soul of love and bravery!
Thy song was made for the pure and free,
sound in slavery!"
They shall never
not
"
STILL,
STILL
stillwith Thee, when
Still,
WITH
Thomas
Moore.
THEE
purple morning breaketh,
When
the bird waketh and the shadows
flee;
Fairer than morning, lovelier than the daylight,
Dawns
the sweet consciousness,
I am
with Thee.
HOW
86
with Thee
TO
amid
SPEAK
the
mystic shadows,
The solemn hush of nature
newly born;
Alone with Thee in breathless adoration,
Alone
dew
In the calm
*
When
Its
Sweet
But
and
freshness of the
*
*
*
to slumber,
by toil,
sinks the soul,subdued
closingeye looks
up
morn.
to Thee
the repose beneath Thy
and
sweeter stillto wake
in prayer;
wings o'ershading,
find Thee
there.
So shall it be at last,in that brightmorning
and life'sshadows
the soul waketh
When
flee;
O,
hour, fairer than daylightdawning,
in that
Shall rise the
gloriousthought /
"
SONG
ON
MAY
am
with Thee.
Harriet Beecher
Stowe.
MORNING
brightmorning-star,Day's harbinger,
Comes
dancing from the East, and leads with her
The flowery May, who from her green lap throws
The yellow cowslipand the pale primrose.
Hail, bounteous May, that dost inspire
desire!
Mirth, and youth, and warm
of thy dressing;
Woods
and groves
are
Hill and dale doth boast thy blessing;
Thus
salute thee with our earlysong,
we
And welcome
thee, and wish thee long.
the
Now
"
John
WORK
]"t
In
In
Let
me
but do my
me
but find it in my
day to day,
field or forest,at the desk or loom,
roaringmarket-placeor tranquilroom;
work
from
heart to say,
Milton.
HOW
88
hear the
We
cannot
We
only know
who
Those
TO
the roaringof the
battle-clash,
them
among
the world
made
the heart within
"Ours!"
SPEAK
the well-beloved
are
for us,
ones,
lovers,
husbands,sons.
cries. Nay, but
us
guns;
these
are
more;
of God
who
holy war
His soldier-saints fought and conquered for!
Even,
men-at-arms
In the
cause
wage
a
Lord, for us the waitingones, watchers in the night,
Change our selfish fears to pride,let us see aright
the gloryof the fight!
The honor of the service,
bared in vain,
Thy sword wasnever
Give us vision to behold, above the fields of pain,
The splendorof the sacrificethat saves
a world again !
Give
faith to know
us
"Theodosia
Garrison.
PEACE
the forests old,amid
silent are
Now
Great
met, and from
armies
whose
the shore have
cool retreats
passed the
hostile fleets.
We
And
hear
no
more
the
\
trumpet's bray or bugle'sstirring
call,
full of dents,in quietsheathed,the swords hang
on
the wall.
O'er frowning ramparts, where
once
shone
the sentry's
gleaming steel,
the purple swallows
In swift and widely circling
flight,
wheel;
Beside the Rappahannock's tide,the robins wake their
song,
And
where
the
sparrows
flashingsabres clashed,brown-coated
throng.
FORCE
The
wealth
of
beauty that falls
89
from
out
God's
o'er-
flowinghand
Clothes with a fragrant garment the fields of death
made
grand,
In the deep silence of the earth war's relics slowly rust,
And tattered flagshang motionless and dim with peaceful
dust.
The past is past; the wild flowers bloom
squadrons met;
And though we keep war's memories
cause
forget,
have
One
pityingtears,
land, one flag,one
coming years.
full
S. Collier.
force,gather all
the power
can
you
contraction of the whole
a
where
'neath Heaven's
Thomas
strong muscular
body. The greatest tension must
(from
not the
brotherhood, through all the
"
4. For
charging
why
green,
while battle-stains fade out
And
where
the tone
starts.
be
at
the
phragm
dia-
Fill yourself with
thought and feelingof the subject-matterand
this intensitywill be natural.
selections filled with lofty sentiments
Choose
and try to make them carry a long distance.
the
FRANCE
0
IN
BATTLE
FLAME
France,rose-hearted France,
You seemed
of old the spirit
of winged dance;
Light as the leaf that circlesin the sky,
Light as the bubbles when the billows fly.
We had forgotthat in
the spark
you burned
That lit with dawn the spiritof Joan d' Arc;
TO
HOW
90
forgot that
had
We
which
SPEAK
in you
the flame
burned
and Roland
wreathed
your
Corday
Till,suddenly, from the summer
War's mad, incredible thunders
With
at the sound
And
were
the
on
world;
soul upstart
heart.
to your
your
people
stricken
fold your
To
saw
we
sky
name,
hurled
Erect,imperious,you stood and smiled,
Your
eyes divinely wild
A sudden
light upon your lifted face,
A splendor fallen from a starry place.
"
Debonair, delicate France,
romance!
Spiritof light,spiritof young
Now, we behold you dim in the battle-dust,
Roused, reticent,invincible,
august.
We
see
alive within
of Heaven
The
sword
The
liliesin your
Sorrows, where
of
Mother
you,
high
Too
stilland
stand
you
your
hair
Blood-spattered by the
Too
stand,
hand;
you
of thorns
crown
you
wear.
for fears,
terrible for mortal
tears.
of the world's
desire,
O France
new-lightedby supernal fire,
Wrapped in your battle-flame,
All nations take a splendor from your name.
reborn to noble dreams,
In you we
are
In you we
see
again the sacred gleams
man's immortal
From
goal.
0
France
faith that rises from
The
Shall
When
To
lightthe
men
ages
coming
shall band
build the
you
in
one
like
from
a
star
afar;
confederate
beauty of the Comrade
fate
State.
"
Edwin
Markham.
91
FORCE
REBECCA'S
HYMN
beloved,
Out of the land of bondage came,
Her father's God before her moved,
An awful guide,in smoke, and flame.
By day, along the astonish' d lands
The cloudy pillar
glidedslow;
By night,Arabia's crimson' d sands
Return'd the fierycolumn's glow.
of
Israel,
When
the Lord
praise,
'd keen,
And trump and timbrel answer
And Zion's daughterspour'd their lays,
and warrior's voice between.
With priest's
foes amaze,
No portents now
our
Israel wanders
Forsaken
lone;
Our fathers would not know
Thy ways,
There
the choral
rose
And
hymn
to their
hast left them
Thou
though
But, present still,
of
now
own.
unseen,
day,
brightlyshines the prosperous
thoughtsof Thee a cloudy screen
When
Be
To
And
temper the deceitful ray.
oh, when stoops on Judah's path
the frequent night,
slow to wrath,
Be Thou, long-suffering,
A burning and a shininglight!
In shade
and
storm
left by Babel's streams,
tyrant'sjest,the Gentile's scorn;
Our harps we
The
No
censer
And
But
round
mute
Thou
hast
The
A
our
altar beams,
timbrel,trump, and
our
mine
blood of goat,
I will not prize;
said,the
flesh of rams,
contrite heart,an
Are
horn.
humble
thought,
accepted sacrifice.
Walter Scott.
(From "Ivanhoe,")
"Sir
CHAPTER
VII
PITCH
VOLUME,
AND
SLIDE
Volume
force,
True
suit
of
from
we
call
we
the
degree
note
another
of the
value
accompanied
situation
in
the
It
volume.
in
Such
mechanically.
thinks
and
No
the
to
only
to
around
to
to
us
not
to
vary
different
cording
quantity
or
any
the
of
the
nature
when
voice
the
of the
one
surrenders
thought.
one's
or
but
color
in mood.
is concerned
extent
in
quality would
values
tone*
different
of
quality
appreciable
selections, but
to
itself
conversations
changes
be
cannot
explain why
daily
the
itself
shows
and
the
of
selection,
for
that
influence
the
the
estimate
conditions,
that
with
in
author
to
the
the
note
ing constantly
loudness
able
emotional
listen
appreciation
of
of
which
tone,
sympathy
comes
expression
and
of
quality
the
under
color
changes
It
with
been
has
one
an
peculiar
forced
himself
and
spiritual
creases,
intensity in-
mental
involved
feeling
a
feels
emotional
a
re-1
being, and
or
property
thought
described.
whole
the
emotional
of
shows
by
voice
of
mental,
the
As
centers.
intensity
strong
said, is the
already
have
we
uniform
a
comes
as
tellectua
inhave'
we
of
people
is
chang-;
So
it
far
as
might!
reading
ten
vary/ac-
expressed
"
in the*
i
PITCH
VOLUME,
AND
SLIDE
93
change of tone
center in the speaker, this
from a dominant
jomes
and spirit3enter being influenced by his mental
ual
appreciationof the thought he is expressing.
If the motive
changes, the quality of the tone
lianges also.
With these facts in mind, practicewith the poalready used in working for force,trying to
Bms
thought. Remember
that
every
"
motive of the author
the central purpose
or
)ack of what you are saying.The mental concept
teep
for it serves
basis of all true tone-color,
as
radiates. Keep a
center from which all expression
the
i
strong torso support behind
)er
one
ongue
cannot
express
the
speaking;rememgreat thought with the
alone.
Pitch
Pitch should
be
governed by the nature of the
bought to be expressed,but many
people unconciously talk continuously on a high pitch,no
of the matter
natter what the nature
they are exand preachers often find that
ressing.Teachers
from
the wish to
hey are doing this. It comes
understood
make themselves
to emphasize the
nought they are giving.It becomes tiresome in a
ittle while,and is very wearing on the voice itelf. On the other hand, some
ually
people use an habitlow pitch.By consciouslytrying to keep
he voice from risingtoo high,they fail to express
ightlythe various moods, and are often ineffective.
Both of these faults may
be corrected by careul attention and practice.One must
first get a
mental concept of the pitch that is desired. It has
"
been said in
thingmust
than
upon
a
SPEAK
TO
HOW
94
previous chapter that this
sort
of
be based upon a mental
process rather
chance of getting the rightresults
any
exercises that were
The same
given for
"by ear."
developingrange
be
would
good in working
out
pitch.Link the exercises with
the expressionof some
thought as soon as possible
be seen
the rightrelation between
so that there may
the pitch that is being worked on and the different
tions.
that are involved in the reading of selecmoods
of
the consciousness
for
the
followingpoem
and joy:
sensation of lightness
Practice
on
BROOK
THE
I
from'.haunts of coot and
come
I make
And
a
the
fern,
valley.
among
bicker down
To
hern,
sally,
sudden
sparkleout
gettingthe
a
By thirtyhills I hurry down,
the ridges,
Or slipbetween
By twenty thorps,a littletown,
And half a hundred
bridges.
farm I flow
by Philip's
join the brimming river,
Till last
To
For
men
But
come
may
I go
I chatter
on
over
and
into
I babble
on
may
forever.
stony
ways,
trebles,
eddying bays,
the pebbles.
In littlesharps and
I bubble
men
go,
I
under
murmur
SPEAK
TO
HOW
96
and
moon
stars
brambly wildernesses;
I linger by my
shingly bars,
In
I loiter round
cresses;
my
and flow
again I curve
join the brimming river,
And
out
To
For
men
I go
But
and
come
may
men
forever.
on
Alfred Tennyson.
"
THE
THROSTLE
is coming,
"Summer
go,
may
is
summer
coming.
it.
it,I know
it,I know
Light again, leaf again, life again, love again!"
I know
Yes,
Sing the
Last
wild
my
new
year
"New,
new,
That
you
little Poet.
year
you
sang
new,
should
it
new!"
as
blue.
the
in under
gladly.
Is it then
carol
so
so
new
madly?
again, song again, nest again,young
Never
a
prophet so crazy!
And
hardly a daisy as yet, little friend,
See, there is hardly a daisy.
"Love
again, here, here, here, happy year!"
"Here
O
warble
Summer
And
again,'
is
unchidden,
unbidden!
coming, is coming,
all of the
winters
are
my
dear,
hidden.
"
Alfred Tennyson
PITCH
VOLUME,
AND
SLIDE
97
Laughing Chorus," which has been given
for another exercise in this book, is also good for
ing
'developing
a
comparatively high pitch.In read"The
these poems
one
should
remember
mental
concept of happiness and
will be
noted
to
have
the
frivolitybehind
the thought. A person'svoice naturallyrises in
if he has been taught to disfor such moods
crimina
jpitch
between the different pitches.
lowing,
the medium
For practiceon
pitch,use the folwhich is of enough weight to demand
a
below that used in the poems
justgiven.It
jpitch
and
jdeeper
as
more
the exercises progress
that the
the matter, the lower
earnest
will be the pitch, provided, of course, that the
reader has his voice under sufficient control to
adapt itself to the occasion.
THE
MAN
| Sometimes
who
WHO
WEARS
THE
BUTTON
in.passingalong the street,I meet
a
man
in the
a little,
plain,modest,
lapelof his coat wears
massuming, bronze button. The coat is often old and
*ustyand the face above it seamed and furrowed by the
toiland suffering
of adverse years.
Perhaps beside it
bangsan empty sleeve,and below it stumps a wooden
3eg. But
when
I meet
the
man
who
wears
that button
in his presence. Yea,
doff my hat and stand uncovered
the very dust his foot has pressedis holy ground,
,o me,
he
peril,
ared his breast to the hell of battle,
to keep the flagof
"ur country in the Union
sky. Maybe at Donelson he
-cached the inner trench;maybe at Shiloh he held the
Droken line,at Chattanooga climbed
the flame-swept
the clouds on Lookout Heights.He was
or stormed
lill,
or
I know
in the
dark
hour
of the nation's
born
not
bred
or
SPEAK
TO
HOW
98
soldier life. His
to
country's
summons
plough, the forge, the bench, the
loom, the mine, the store, the college,the office,the
venture
sanctuary. He did not fightfor greed or gold, to find adand
from
the
kisses
What
button!
The
men.
the
white
eye,
but
less deserve
How
many
beyond
the
are
stars
in
of Union
for
atonement
negro
that
our
the
from
and
the
known
are
gives them
chivalry
dred
hun-
a
title-page,
voice:
for
them
in humbler
who
every
seen
never
were
noj
ways
roaring battle.
the button!
They pinned
of above
wear
the
bronze
same
on
country
of
acts
who
men
desperate
on
glorious victories
heard
lines, or
bless the
the
he
written
thousands,
applause.
knightly
good-by
face
light of publicity illuminates
there
left
quietly took up
citicould, a better zen
worn
of their
history
turn-ad
soldier.
a
are
Their
fame.
arms,
Sheridan, Logan
names
quiet
he
over,
have
men
whose
of deathless
God
good
so
of
peace
eyes,
in the
best
as
Grant, Sherman,
more
to
been
mighty
was
war
of life
threads
having
for
the
when
broken
the
tender
of
glance
tiny lipsto look death
And
the
clasp of clinging
the
broke
he
loved
He
renown.
witching
on
fields.
win
to
or
ways
the
from
him
called
the
of
azure
our
sin in blood.
nation's
auction-block
and
at
made
flag, and
They
took
altar of
the
the
eman"
supplemented
"Yankee
with "Glory Hallelujah, and YorkDoodle"
the dawr
Their
with
town
powder woke
Appomattox.
cipation crowned
him
citizen.
They
"
of
universal
first in all the
and
freedom,
earth.
to the
future
To
and
made
the
us
their
memory
it is
Americs
name
is
an
tion,
inspira-
hope.
"
John
M.
Thurston
PITCH
VOLUME,
AND
SLIDE
99
exercise for low
pitch,use "The Ocean"
by Byron. The followinglines are especially
good:
For
an
Roll on, thou
Ten thousand
One
should
deep
and
dark
blue ocean, roll!
thee in vain.
over
fleets sweep
allow
the
meaning
into his consciousness.
enter
I will deepen the voice and
of the
Such
experience
pitch to drop
an
the
cause
lines to
of the lines from
| below the ordinary level. Some
I the speech of the Ghost
in "Hamlet"
require
deeper pitchthan these justquoted:
"I am
thy father's spirit."
Kipling's"Recessional" also affords some
good
jpracticealong this line.
1 even
a
Slide
of
people limit themselves in the matter
bilities
pitch,it is also true that they neglect the possiof gainingvarietyby the use of slide. This
from one pitchto another
the sliding
means
during
a speech.In the discussion at the beginningof the
If
exercises for tone-direction it
was
stated that
one
fairlyextensive range,
one
ing
coverat least two
octaves, with a consciousness or
cluded
tone-memory of sounds above and below those in-
should
have
in
voice
a
the
"
two-octave
naturallymakes
range.
variations
A
well-trained
in range
in
sponse
re-
meanings. Children are more
apt to do this than grown people are. Many adults
littlerange, but speak on almost a monotone.
use
very
It is very tiresome to listen to speecheswhere
has to
there is so littlevariety.Any person who
to the various
100
HOW
talk
much
interest
TO
in
public will find that his abilityto
audience will increase to a marked
degree
an
if he learns to
use
above,
of two
that
"
SPEAK
the full sweep
of range
mentioned
octaves.
The
length of slide in a well-trained voice is
measured
by the speaker's mental
conception of
the thought, plus his emotional
his symresponse,
pathy
with
the
audience
and
accompanying
them. Slide helps to
the variety in range
desire to give the thought to
make
voice
the
holds
radiate,for
the attention
would
Slides
used
of the audience
to be
cease
the
when
a
tone
mono-
effective.
in
expressingexplanatory matter,
in making any
significantpoint clear,in irony, in
exaggerated expression of humorous
matter, and
also in expressing surpriseor sudden
tice
Pracanger.
the following lines from
the speech of Cassius
in
Julius
the
Caesar," making them
express
shock
of surprisedguilt:
are
"
"I
You
know
Or, by
Use
the
that you
the gods, this
the lines of
same
play
"For
So
Express
never
itching palm?
an
heard
speech
Anthony
is
they
that speak
else your
man,
men,
in
a
the
thing!
scene
"
"
following: "Why,
"
of
irony:
all,all honorable
an
this,
last."
in the funeral
honorable
surprise
of such
were
concealed
to express
Brutus
are
Brutus
are
I
,
t
i
VOLUME,
Mark
the
insinuation
My
dearest
SLIDE
AND
PITCH
in
the
101
lines
following
from
Macbeth:
Macbeth:
Macbeth:
Lady
In
all
And
these
the
is
than
fullest
limitless,
in
the
We
full
It
in
originates
is
Nothing
even
backed
will
be
by
be
separated
of
the
work.
to
that
the
the
thought
ity
qual-
the
or
to
be
and
expression
important
slide
pitch,
of
which
concept,
control
to
the
mechanical
mechanical
that
feeling
at
and
development
mental
chance
seems
range
human
most
force,
center
what
from
the
seen
upon
left
the
to
emotion.
dominant
a
the
tically
prac-
needed
cases
beyond
quality,
tone:
tonight.
that
be
some
discussed
depends
one
of
noted
be
would
In
far
sweep
of
will
octaves
meaning.
here
properties
each
it
two
here
comes
hence?
goes
vanishing
have
volume.
when
selections
more
give
Duncan
love,
a
very
tone.
tion;
calculaform
it
ceases
early
is
so
to
stage
CHAPTER
PAUSE,
VIII
RHYTHM
AND
TIME
Pause
Two
other
in
effective
Pauses
rhythm.
in
points
of
that
subtle
a
instant,
either
has
ceased
not
the
what
is
audience
to
A
found
but
he
has
He
is
while
he
the
he
wishes
pauses
for
just made
in
before
has
to
an
it.
He
stant
in-
an
the
to
sciousness
con-
forward
allowing
tha
said.
already
thought
for
order
looking
is
press
ex-
cate
indi-
one
poising
fully
what
and
expressing
is
sations
ces-
they
points
i
or
as
hand,
he
next
before
other
impressive,
listener.
consider
considered
after
and
pause
thoughts
When
or
sidered
con-
be
especially
,
the
is
called
anticipation
that
breath.
the
are
thought.
more
coming
emphasized
point
point
just
pause
keep
the
think,
to
emphasis
of
to
very
be
to
be
to
between
between
before
the
upon
bring
On
relation
point
speaking
not
are
concentrated
make
elements
occur
thinking.
very
to
public
speech
a
a
important
very
A
is
coming,
familiar
in
Portia's
of
Venice":
anticipatory.
of
the
the
speech
listeners
to
of
such
Shylock
order
to
for
the
keen
halts
speaker
example
In
for
a
in
jucc
pause
"The
a
is
chant
Mer-
TO
HOW
104
the charm
lowland
upland and
goldenrod,
of us call it Autumn,
all
And
SPEAK
over
of the
"
Some
Like tides
crescent
a
on
and
others call it God.
the
when
sea-beach
moon
is new
and
Into
Come
Some
thin,
hearts high yearningscome
wellingand surging
our
in,"
whose rim no foot has trod,
from the mystic ocean
of us call it Longing, and others call it God
picket frozen on duty, a mother starved for her
brood,
Socrates drinking the hemlock, and Jesus on the rood;
and nameless,the straight,
millions who, humble
And
hard
pathway plod,
Some call it Consecration,and others call it God.
A
"
"
"
H. Carruth.
"William
have
We
a
dicates
which inimplication,
expressedby the words,
lines.The followingstanzas
also the pause
something
meaning between
indicate such
a
not
the
of
"
pause:
At Paris it was, at the Opera there,
And she looked like a queen in a book
With
of
wreath
a
the brooch
And
on
pearlsin
her
her breast
so
that night,
hair,
bright.
raven
Of all the operas that Verdi wrote,
The best to my taste is the Trovatore;
thrill with
And
Mario
The
souls in purgatory.
The
moon
And
who
As
we
"Non
can
on
was
heard
the tower
not
him
ti scordar
a
note
tenor
sleptsoft
as
snow;
thrilled in the strangest way,
sing,while the gas burned low,
di me"?
RHYTHM
PAUSE,
Emperor
The
Looked
grave,
AND
TIME
105
there in his box
of state,
justthen seen
if he had
as
from his citygate,
red flagwave
Where his eaglesin bronze had been.
The
Empress, too, had
The
have
You'd
For
said that her fancy had gone
under the old blue sky
moment
one
the old
To
Together,my
My gaze was
hers
back again,
glad life in Spain.
Well ! there in
And
tear in her eye,
a
on
front-row
our
box
bride betrothed
fixed
on
my
the stage hard
we
sat
and
I;
opera-hat
by.
"Owen
(From
THE
It
With
Italians.")
PATRIOT
myrtle mixed
house-roofs
The
A year
The
"Aux
roses, roses, all the way,
was
The
Meredith.
in my
seemed
to heave
and
sway,
church-spires
flamed, such flagsthey had,
ago on this very day.
air broke
into
a
mist with
old walls rocked
The
path like mad:
with
bells,
the crowd
and
cries.
noise repels
said,"Good folk,mere
from yonder skies!"
But give me
your sun
They had answered, "And afterward,what else?"
Had
I
"
leaped at the sun,
loving friends to keep!
my
could do, have I left undone:
And you see my
harvest,what I reap
This very day, now
a year is run.
Alack, it was
To give it
Naught man
I who
106
HOW
There's
Just
TO
nobody
a
the
on
palsiedfew
the best of the
For
By the
very
house-topsnow
at the windows
"
set;
sightis,all allow,
the Shambles'
At
SPEAK
Gate
or, better
"
yet,
scaffold's foot,I trow.
I go in the rain,and, more
than needs,
A rope cuts both my
wrists behind;
And
forehead bleeds,
I think, by the feel,my
For
Stones
Thus
has a mind,
whoever
they fling,
for my
at me
year'smisdeeds.
I
entered,and thus I go!
dead.
In triumphs, people have dropped down
"Paid by the world, what dost thou owe
God might question;now, instead,
Me?"
"
'Tis God
shall repay:
I
am
safer
so.
"Robert
After
both
studying carefully
Browning.
of these selections
implied than is
ing
spoken. If the speaker appreciatesfullythe meanthe lines he naturally pauses
to give
between
Often one's emofor his thought and feeling.
tion
a vent
is
for
much
realizes that
one
an
are
can
so
strong
to make
as
instant. Such
oftentimes
far
pauses
more
is
more
to pause
it necessary
have mentioned
as
we
eloquent than words.
easily distinguishbetween
pauses
that
We
are
t
ing,
thinking and feelwhere the imaginationof the speakeris appealand i
ing to the intuitive perceptionof the listener,
those that are made
mechanically.It should be rein literamembered
that the punctuation marks
Such marks
ture should not be followed slavishly.
\
be mis- ":
and may
used for grammatical purposes
are
made
because
of concentrated
"
"
"
AND
RHYTHM
PAUSE,
TIME
107
often pause
be
there would
We
jieadingat times in oral expression.
speech in placeswhere
for a punctuationmark. On
ino grammatical reason
jtheother hand we find punctuation marks in
would not naturallypause in regIplaceswhere
one
ular
speech.One must allow his thought and feel|ing to guide him entirelyin such matters.
}inour
own
Rhythm
All
good
movement
by
a
very
literature
and
has
Time
a
certain
undulating
called rhythm. Poetry is characterized
flow is
decided rhythm. This measured
also noticeable
in
some
prose, though not
two
extremes
are
to such
a
to which
degree. There
allow the swing
some
people go in reading verse:
and the result is
of the poetry to carry them away,
that the thought is blurred; others are so anxious
the thought clear that they sacrifice the
to make
rhythm entirely.
Rhythm should be subordinate to
the thought,usually,
but if the speaker is sufficiently
impressed with the atmosphere of the verse, he
thus allowingthe
will not break the rhythm entirely,
common
poetry to become
prose. Shakespearean
and the poetry of Browning probably suffer
verse
erature
more
along this line than any other rhythmic litThe thought is so involved that the reader
marked
has to be careful not to allow it to pass
as
he follows the musical
unnoticed
flow,and the result is that
he loses the rhythm.
In many
the rhythm should be
nonsense
poems
purposelymarked. The thought in such cases is of
minor
importance
as
compared
with
the
strong
HOW
108
metrical
TO
effect. Edward
"The
Owl
such
verse.
Every
and
the
Lear's
nonsensical
Pussy Cat," is
is
person
SPEAK
governed by
example of
an
certain
a
song,
rhythm,,
usually evident in his normal activities.
is preparing a selection to give,he
When
a reader
should take note of the general rhythm which the
selection represents,and also the individual rhythm
of the people who
are
portrayed.Each character
certain rhythm, and if the speaker
will have
a
wishes to interpretthis character truly,he must
to get a conceptionof the perstudy it sufficiently
son's
rhythm, and then he must fall in with it as he
be several persons
reads. There
represented
may
in a singleselection,
and the difference in their
is
which
The
from
be
must
movements
rhythm of
that
of
as
marked
their voices.
as
littlechild would
be very different
from that of an
adult,especially
a
an
elderlyperson. The poem,
"One, Two, Three,"'
quoted elsewhere in this book, is an example of this.
Descriptiveand narrative matter also vary in
this movement.
It is the business of the reader to
get into the mood
that
he
of the author
is identified with
to such
the rate
an
extent
speed. This
less
regulatesthe matter of time in a reading.It is useto direct a person
we
are
teaching to "read
faster" or "read more
slowly." The mechanical
direction is a handicap rather than a help. If a
suggestion can be made, either by question or by*
some
other
think
and
means,
that will
the desired rate of movement.
the student
cause
feel,he will fall into
the selection,
and this will cause
of
the
to
atmosphere of
him
to read with
PART
ARTICULATION
II
HOW
112
2. As
soon
should
put
as
the
sensed
behind
he
this
the
mechanical
which
speaking,
SPEAK
has
one
thought
a
remember
TO
syllables. He
form
is not
position, he
do
to
apt
time
the
at
Choose
of the
position
"I
Keep
want
hat."
onward!"
"Sail
If it is hard
the
after
it in
the
Recite
following,
mentioned.
that
so
regular
the
speech.
in drills
in
order
that
to
make
an
you
for
say:
ment!"
astonish-
league, half
the
at
the
causes
the
league
a
hinge of
jaw
action,
each
will
Probably
wide
so
should
it may
taking
the
action
quite
one
as
with
I rise
tension
for
Keep
the
mouth
good
are
to
drop
is able
one
speaking.
finger-widths
two
words
but
the
sensing
have
open
release
and
mouth
in
to
a
on."
and
on
a
This
imitate
4.
half
open
flex
o, circum-
e, short
lords,
has
thought.
free
a
position
jaw, try yawning.
naturally,
to
"My
he
is
ing
syllables hav-
or
Italian
open
league,
a
short
short
the
sensing
"Half
a,
of
require
words
Any
and
a,
my
that
short
of
Italian
o,
words
mouth.
sounds
the
this.
other
he
unless
practicedcombiningitwiththeexpression
3.
should
impression.
of the
become
one
when
attention
the
open
sounds
we
behind
thought
exaggerate
call
to
care
the
mechanical
does
often
not
talking rapidly,
the
to
form
a
little
itself enough
ARTICULATION
BLOW,
BLOW,
EXERCISES
THOU
Blow, blow, thou
Thou
As
Thy
art not
man's
tooth
Because
so
WINTER
winter
113
WIND
wind,
unkind
ingratitude;
is not so keen,
thou
art not
seen,
Although thy breath be rude.
Heigh ho! sing,heigh ho! unto the green holly;
is feigning,
most
Most friendship
lovingmere
folly.
Then, heigh ho! the holly!
This life is most
jolly!
Freeze,freeze,thou
That
dost not bite
bitter
so
nigh
As benefits forgot:
Though thou the waters
Thy stingis not
As
warp,
sharp
friends remember'd
not.
sing,heigh ho! unto the green holly;
most
lovingmere
folly.
friendshipis feigning,
Then, heigh ho! the holly!
This life is most
jolly!
Shakespeare.
Heigh
Most
so
sky,
ho!
"
(From
II. Exercise
for
Freeing
the
"As
Lips and
You
Like
Making
It.")
Them
Serve
lipsrapidly or bite them to
make
the blood flow freelythrough them.
2. Take
extreme
ing
positionswith the lips,movquicklyfrom a smile to a trumpet-shape.Sense
the change. Use a mirror to see that the lipsare
rounded and not merely puckered.
and words that requirethese
3. Choose syllables
1.
First,move
the
HOW
114
TO
SPEAK
e-de, e-do; e-oo, oo-o; 6-aw,
positions:
aw-ah, ah-a, a-e, e-oo, 60-6, etc. Repeat these
changes over and over again tilltheyare thoroughly
extreme
fixed in your mind.
sentences
4. Take some
that
requireboth forms,
tryingto keep the rightpositionwhile expressing
the thought: "Sleep, the innocent
sleep. "Oh,
"
East
is West, and
is East and West
shall meet."
"So
sweet
it seems
the twain
never
to me."
ing
ordinaryspeaking,one does not use the smiling
positionin making the front-scale vowels. Durall speech a strong contraction should be made
in the middle of the upper
lip,causing it to protrude,
this trumpet-shape has a powerful effect
as
the carryingof the tone. But the muscles of
upon
in pronouncing
the face should move
backward
these vowel sounds, and it is hard to teach them
first practicesthe smilingpoto do this unless one
sition,
in the
the plasticity
as it helps to increase
In
facial muscles.
In
nearly all exercises
practicedfirst and
form
is
taste
suggests.
III. Exercise
an
then modified
extreme
as
"
good
for Developing the Tip of the Tongue
Imagine that the tongue is sharpened to a
point like a lead pencil,and that you are using
the following:do, (di,
only that point.Pronounce
di,di),di; da, da, do, di;ta, ta, to, ti;la,la,16,li;
1.
lo,
1!,li,Ji,
H; lo,lojo,
le,le,le,le,le,le;_li,
li^li,
loo,16~5,
loo,lo~o,
16,16,16,16,16; lo"o,
lo~o,
loo,loo,
loo.
2. After
sensing the activityin just the tip of:
the tongue, say
some
sentences
that have the sound
ARTICULATION
EXERCISES
115
of t, givingpart of the attention to expressingthe
thought and part to restrictingthe action of the
tongue to just the tip.Say: "Till
the
tongue of
"Thou
fancy tingleswith the tang of muscadine."
testy littledogmatist,thou pretty katy-did.""Two
toads totallytired tryingto trot to Tadbury."
Keep a close mental control over what you are
saying,thinkingof each syllableas you pronounce it.
4. Recite the followingpoems,
keeping .watch
of the delicate,
in the same
accurate
ation
pronunciway
of the sounds that may
with just
be made
the tip of the tongue.
THE
brook, little brook,
have such a happy look,
Little
You
Such
a
As
And
very
merry
your
manner
and
curve
one
ripples,
and
swerve
you
Reach
Like
BROOK
each
other's
and
crook,
one
hands, and
laughinglittlechildren
run
in the
sun.
Little
brook, sing to me;
Sing about a bumblebee
That tumbled
from
a lily-bell
And
grumbled mumblingly,
Because
he wet
the film
Of his
wings and had to swim,
the water-bugs raced 'round
While
and
at him.
Little brook, sing a song
Of
Down
a
leaf that raced
the
Of your
along,
golden braided center
current,swift and strong;
laughed
TO
HOW
116
And
dragon flythat lit
rim of it,
the tilting
a
On
And
rode away
and
And
sing how
oft in
Came
To
scared
wasn't
glee
boy like
truant
a
a
bit.
me,
listen
to lean and
loved
Who
SPEAK
melody,
lilting
gurgle and refrain
your
Till the
Wrought
happiness as
a
laugh
Little brook,
Do
in his brain
music
Of your
and
as
pain.
leap;
let the dreamer
not
to him
keen
all the songs of
Till he sink in softest
Sing him
weep
:
summer
sleep;
sing,soft and low,
Through his dreams of long ago
Sing back to him the rest he used to
then
And
"
James
"
know!
Whitcomb
the BiographicalEdition of the romplete works of James
Copyright, 1913, by The Bobbs-Merrill Company.
From
HOW
Did
a
a
And
a
You
a
ton
or
a
trouble is what
only how
are
Come
beaten
up
with
did you
trouble's
make
an
ounce
it;
you'rehurt
that counts,
take it.
Well,well,what's
smilingface.
to earth?
a
It's nothing against you
But
way
fearful?
you
it isn't the fact that
But
your
cheerful ;
the lightof day,
trouble's
Or
came
resolute heart and
Or hide your face from
soul and
Like a craven
O,
DIE?
tackle that trouble that
you
With
YOU
DID
Whitcomb
to liethere
"
to fall down
that's disgrace.
flat,
that?
Riley.
Riley.
ARTICULATION
EXERCISES
117
The harder you'rethrown, why the higheryou
of your
It isn't the fact that
Be
But
And
blackened
proud
how
did you
though
"
eye.
you'relicked that counts,
and why?
fight,
be done
you
bounce
to the death
what
"
battled the best you could,
played your part in the world of
then?
If you
If you
But
with
comes
crawl
a
if he be slow
or
It isn't the fact that
But
"
the critic will call it good.
Why,
Death
men
only,how
he
or
a
pounce;
spry,
you're dead
did you
that counts,
die?
Edmund
"
IV. Exercises
with
comes
for the Whole
Vance Cooke.
Tongue
to loosen the tongue and
r
trilling
make it flexible.Say: rattle,
rat-a-tat,pride,prim,
prince,bring,bride,brisk. Trill each r as much as
tion
possiblein the practice;but in ordinary conversa-
1. Practice
one
turn
of the tongue is sufficient.
the tongue out
fold it back at the tip.
2. Run
3. Make
a
rhythm. This
as
far
as
lapping movement,
will prove
the tongue sometimes
to you
possibleand then
tryingto do it in
how unresponsive
is.
ent
tryingto say the differtongue-twisters,
combinations
smoothly and rapidly: "Six
thick thistle sticks." "Flesh of freshlyfried flyingfish." "She sellssea shells on the sea shore,and he
4. Use
says he shall sell sea
lad determined
"She
shells
to thwart
on
this
the
in."
shore." "The
plan and do aright."
stood at the door of Mrs.
shop, welcoming him
sea
Smith's
fish-sauce
HOW
118
TO
SPEAK
It is well to say each one
three times in succession.
Such drilltrains the tongue to respond quickly
thought and enables one
time.
at the same
distinctly
to
centered
the word
upon
or
speak rapidlyand
All thought should be
syllablethat is being
to
pronounced, and the tongue should not be allowed
to begin a new
tillit is finished.
one
5. Recite the following stanza, taking care
to
say each word
very distinctly.
Fairy: Over hill,
over
dale,
Through bush, through brier,
Over park, over
pale,
Through flood,through fire,
I do wander
everywhere,
Swifter than the moon's
sphere;
And I serve
the Fairy Queen,
her orbs upon
the green.
The cowslipstall her pensionersbe;
In their gold coats spots you see.
To
dew
Those
be
rubies,fairyfavors;
In those freckles live their
I must
And
go
hang
seek
a
some
pearl in
savors:
dewdrops here,
cowslip'sear.
every
Shakespeare.
"
(From Scene 1. Act II, "Midsummer-Night's Dream.")
Before
outliningthe next exercises,which are
for the front-placementof sounds, a word
of explanation
is necessary.
Some
fused
conpeople become
the terms
sometimes
over
tone-direction,
called tone-placement,
which means
directingthe
tones
where they will be able to ring in the resonance
chamber
to gain overtones, and front-place-
HOW
120
SPEAK
TO
the
strengthof the explosionby saying
the same
syllablesin a lightstaccato manner.
3. Say the same
syllablesin a normal manner,
bers,
chamallowing the tones to float in the resonance
time keeping the force gained
and at the same
by the strong explosions.
4. After sensingthis placingat the lips,
bring all
with the tipof the tongue
the sounds that are made
to the same
point.Say: te,ta,ti,to,too; de,da, di,
do, doo ; le,la,li,lo,loo ; ne, na, nl, no, noo ; etc.
the sounds that are made
5. Take
by arching
the tongue in the middle. Say: she,sha, shl,sho,
shoo; ye, ya, yi, yo, yoo.
in the
6. Lastly, take the sounds that are made
back of the mouth, shootingthem forward like the
as
soon
as
rest to the lips,
they are formed. Say: ke,
ka, kl,ko, koo; ge, ga, gi go, goo. This is the hard
2. Test
of g.
7. Practice
sound
care
to
give to
with
the
each
sound
following poems,
taking
the benefit of all the
plosive
ex-
power.
All vocalized
be allowed
sounds
like m, n,
to float in the
overtones; but
resonance
I,and
ng, should
chambers
all consonants, whether
for
aspirates
vocals, should be sent to the lips.This frontplacement of sounds with the explosiveeffect and
in value.
be over-estimated
the use of the lipscannot
If one
imagines that his audience includes both
deaf and blind people,he will take pains to help
the deaf peopleby using a decided lipmovement,
effort to
an
while for the blind folk,he will make
send all his tones front in order that they may
gain
all the overtones
possible.
or
EXERCISES
ARTICULATION
BREAK
BREAK,
BREAK,
121
Break, break,break,
And
cold gray stones, O Sea !
I would that my
tongue could utter
The
thoughts that
On
thy
0,
well for the fisherman's
That
he shouts
That
And
he
the
singsin
his boat
on
0 for the touch
And
the sound
of
a
of
Will
come
never
of
grace
back
the
On
OF
LEGEND
cross
bay!
hill;
hand,
voice that is still!
0 Sea!
a
to
"
THE
the
vanished
a
Break, break,break,
At the foot of thy crags,
the tender
play!
on
the
under
But
But
boy,
lad,
statelyshipsgo
their haven
me.
with his sister at
for the sailor
O, well
To
arise in
THE
day
that is dead
me.
AlfredTennyson.
CROSS-BILL
the dying Saviour
lifts his
eyelidscalm,
a trembling
Feels,but scarcelyfeels,
In his piercedand bleedingpalm.
Heavenward
And
by
all the world
Sees he how
with
forsaken,
zealous
care
At the ruthless nail of iron
there.
A littlebird is striving
122
HOW
Stained
With
From
TO
with blood
its beak
the
and
tiring,
never
it doth
not
'twould
cross
Its Creator's
And
SPEAK
cease,
free the
Saviour,
release.
son
the Saviour
speaks in mildness,
"Blest be thou of all the good!
Bear, as token of this moment,
Marks
And
of blood
and
holy rood!"
that bird is called the
cross-bill;
Covered
all with blood so clear,
In the groves
of pine it singeth
Songs, like legends,strange to hear.
Henry
"
Wadsworth
Longfellow.
DAYBREAK
A
wind
And
of the sea,
mists, make room
came
up
said,"O
out
for me."
It hailed the
Ye
ships,and cried,"Sail
mariners,the night is gone."
And
hurried landward
Crying, "Awake!
It said unto
Hang
far away,
it is the day."
the forest,"Shout!
all your
It touched
leafybanners
the wood
out!"
bird's folded
And
said,"O
And
o'er the farms, "0
clarion blow; the
Your
on,
bird,awake
and
wing,
sing."
chanticleer,
day is near."
EXERCISES
ARTICULATION
123
whispered to the fields of corn,
"Bow
down, and hail the coming morn."
It
It shouted
through the belfry-tower,
O bell! proclaim the hour."
"Awake,
It crossed
the
said,"Not
And
churchyard with a sigh,
yet! in quietlie."
Henry Wadsworth
"
CHRISTMAS
the bells
I heard
And
wild and
The
words
Of peace
BELLS
Christmas
on
old,familiar
Their
Longfellow.
carols
Day
play,
sweet
repeat
earth,good-willto
on
the
And
thought how,
The
belfries of all Christendom
Had
rolled
The
unbroken
Of peace
as
song
Then
The
revolved
A
voice,a
A
chant
Of peace
on
from
cannon
from
night to day,
sublime
earth,good-willto
men!
black,accursed mouth
thundered
in the South,
each
with the sound
The
carols drowned
on
its way,
chime.
And
Of peace
come,
earth,good-willto men!
on
world
had
along
Till,ringing,singingon
The
day
men!
earth,good-will
to men!
TO
HOW
124
It
The
households
is
And
With
earth,
on
the
pealed
is
The
Wrong
The
Right
peace
on
"Henry
I
earth,"
said;
song
good-
bells
dead;
not
head;
strong,
the
mocks
peace
"God
is
hate
"For
men!
to
my
on
peace
no
will
good-
bowed
I
despair
in
continent,
a
born
earth,
on
rent
forlorn
made
"There
Then
of
And
peace
And
Of
earthquake
an
hearth-stones
The
Of
if
as
was
SPEAK
will
loud
more
nor
shall
to
doth
men!"
and
deep
sleep!
He
fail,
prevail,
earth,
goodWadsworth
will
to
men!"
Longfellow.
:
CHAPTER
X
VOWELS
After these exercises have
been
drilled upon
for
and vowel
time, the form of each consonant
should be studied carefully,and practiceshould be
given for the correct pronunciation of them all.
Webster's Dictionary gives a key to pronunciation
which accurately describes the correct positionof
of speech in forming the sounds, so not
the organs
need be given to that here; but it is
much
space
some
well to call attention
to
some
sounds
that
are
often
mispronounced.
The
fourteen
fundamental
vowel
sounds
are
scales,classified according to the
positionof the organs of speech in forming them.
ing
The front scale includes the sounds made
by archthe tongue in the front of the mouth, toward
the hard
for the
palate, leaving a narrow
space
emission of breath for the first sound and lowering
itwith the jaw one degree for each successive sound,
is drawn
in passing down
the scale. The
mouth
divided
back
into four
of the upper
the corners,
but the middle
pet-shape
lipshould be protruded slightlyto keep the trumat
for
this scale
short
a.
are
directing the sound. The vowels in
long e, short i,long a, short e, and
HOW
126
arched
a
littlefarther back
scale. It
for the front
hard
for
requirethe tongue
top scale vowels
The
SPEAK
TO
in the mouth
upward
moves
than
The
tongue
the back
back
mouth
of the mouth
corners
is arched
of the mouth
shorts, and
scale,
for the
second
are
toward
it is
toward
palatefor the sounds u and e, which
and drops with the jaw
identical,
the other sound in the scale,short
The
to be
are
one
the
tically
prac-
degree
Italian
contracted
the soft
a.
slightly.
palatein
for the first sound
in the
drops nearly flat in the
sound, Italian a. The jaw
then
drops considerablyfor the firstof these sounds and
for the second. The lipsare
then drops stillmore
passive for both sounds.
ward
backThe
round back scale requiresthe same
positionof the tongue that is used in the
back scale,but the lipsare trumpet-shaped and
as
very active,for they modify the sounds as much
the tongue does. The
tongue rises quite high for
gree
the first sound, and then drops with the jaw one defor each successive sound in passingdown the
gets to the fifth sound.
positionof the tongue is used in both
scale till one
The
same
the fourth
sounds, but the lipsare rounded less
in forming the fifth. The jaw drops lower for the
and
the fifth
fifth sound
than
it does for the fourth.
includes long oo, short 00,
short o.
This scale
long o, circumflex
o
and
complex sounds, made by changing
scale to another, thus prothe tongue from
one
ducing
sound. Circumflex a, long i,long
a double
These sounds are also called
u, ow and oi are glides.
diphthongs.Long a and long o have a double
Glides
are
HOW
128
TO
SPEAK
that it is directed to the nostrils. Combine
and
it with
other
this placehumming sounds to secure
ment.
Practice saying Marne, mart, Martha, bard,
laugh,aunt, calm, part, farther,
father,alms, arms.
Drop the tongue low each time and note the full,
take words having short Italian a.
rich tone. Then
Change the positionof the tongue and lipsand
staff,
glass,bath, path, mast, half. The
pronounce:
m
difference is apparent. Go then to the front scale
and
say: hat, mat, hand, land, band, lad, cat,
This
practiceshould fix the habits,so
pronunciationwill be accurate at all times.
can.
Short
is often confused
o
o.
The
Italian
with
tongue is in about
the
same
a
or
the
cumflex
cir-
position
for all three
ably.
sounds, but the lipschange considerFrom
the positionof Italian a, where the lips
are
passive,draw them forward a littletillthey are
slightly
trumpet-shaped. This makes short o. Then
round
them
stillmore
and
o
Some
as
words
tillyou
liftthe lower
in for
or
like dog
have
a
decided trumpet-shape,
jaw. This makes
the broad
a
sound
as
cumflex
cir-
in all.
ent
pronounced in three differby different people: dag, dog (which is
ways
ing
correct),and dog. It is simply a matter of roundthe lipsslightlyand keeping the mouth
well
open for the correct pronunciationof short o.
When
in words with /. v or any
short o occurs
other sound that requiresa close positionof the
lips,the sound of short o verges toward circumflex
thus: office,
The
fond, vSlley.
o, and it is marked
than
lips are rounded a little more
they are in
words like d511,lot,sod, etc.,and the jaw is lifted
a
little more.
are
VOWELS
129
also gives trouble. People often
it like short a in words like hare, fair,
Circumflex
pronounce
a
there,etc. It is a double sound,beginningwith one
verging on short e and glidinginto r which is in
sounds. Practice saying
the top scale of consonant
beware; take care; airy,fairy, listeningto the
glidingsound and seeingto it that the beginningis
"
short
nearer
By
It is
e
than
short
people,ow is pronounced incorrectly.
authorities to be a comconsidered by most
bination
some
of Italian
a
is the
pronunciation
instead of Italian
a
c(a)w. One
should
; a,
; a, oo;
Much
ow.
ow,
fault
have
to
oo
like the
the
try
to
then
and
short
oo.
rightsound
incorrect
beginningwith short
then get c(a)w instead of
We
pronounce
the
sounds
and
then
blend
say
them
in combination
practiceis needed
one
The
result of
a.
several times
oo
a.
mentioned
in
them.
to
above.
rately
sepa-
Say
:
ow,
eradicate
One
a,
a
must
mind; otherwise it is useless
get it.
People sometimes mispronounce long u in words
and nude. In England the
like tune, duty, duke
firstpart of this diphthong is y, glidinginto long oo.
the first part of the
In America, we are apt to make
sound short i. This firstpart of the sound, in both
England and America, is omitted in words where the
1 preceded by a consonant.
u is preceded by r, ch, j or
Examples of such words are rule,chew,June,
and blue. These words would be pronounced rool,
choo,Joon and bloo. In other words however, like
dew, lute,etc., either the y or the short i sound
should precede the vanishing sound of long oo.
Music is easy to say, and words like tune, lunacy,
and
dune
dupe
should
that the sound
care
Long i is also
a
SPEAK
TO
HOW
130
be
practicedwith it,tal
word
in each
has
its full value.
of two
diphthong,composed
i. One
sounds, Italian a and short
practice dropping the jaw for the
arate
sep-
should
first part and
It will be noted that the
liftingit for the second.
tongue is flat for the firsthalf and lifted toward
the
palatein the front of the mouth for the second.
Long a and long o are also diphthongalin sound.
They are made by beginningin one positionin the
scale and finishingin another positionin the same
not diphthongal,
scale. Originallythese sounds were
but the majority of English-speakingpeople give
the vanishing sound at the end of the element now.
Foreigners who are learningour language do not
with only the
the sounds
do this,but pronounce
first positionin the scale. One can
help them to get
hard
"
the
diphthongal effect by being careful
tongue for the end
or
to lift his
vanishing part of the sound,
callingtheir attention to it.
Long e, short i, short e, short a, short
and
oo, and
short
oo
usuallypresent
no
u,
long
difficulties.One
that the organs of speech are in the correct
positionand that the tones are directed toward the
should
see
first four of these
nostrils. The
need
attention
in
sounds, especially,
this particular,as they are
in the front of the mouth, where there islittle
chance for overtones, and are apt to be thin and flat
made
if they are
Practice
not
carried into the
combining
them
chambers.
resonance
with
the
humming
meet, mit, mate, met, mat; make me a mat.
The
long sounds of a, e and o are obscured in
sound
unaccented
and
syllables,
are
marked
in this way:
VOWELS
senate,
cut
131
detail,
fibey.One
the sound
be careful not
must
to
short.
too
distinguishbetweenii
and e. U is used in words like fur,purr and curvo
;
also in her,girl,
are
monosyllabic,
worse, etc.,which
ther,
and in the accented syllablesof words like furmyrtle,and fertile.Eis used in the unaccented
of words like father,fakir,doctor,femur,
syllables
Some
peoplefind
it hard to
and altar.
alreadybeen said that these sounds are in
and are formed by archingthe tongue
the top scale,
toward the middle of the hard palate.There is less
pressure in forming e than there is in forming u,
It has
and the result is that the
that
as
of the
e
sound
is not
so
marked
u.
following,first
marking carefullythe correct pronunciation of
of those that are likelyto be
each vowel,especially
with
Practice
poems
like the
troublesome.
IT
COULDN'T
BE
DONE
Somebody said that it couldn't be done,
But he, with a chuckle,replied
but he would be
That maybe it couldn't,
Who
wouldn't
say
so
one
tillhe'd tried.
rightin with a bit of a grin
On his face
if he worried,he hid it.
He started to sing as he tackled the thing
That couldn't be done, and he did it.
So he started
"
Somebody said,"Oh, you'llnever
At least,
has done it."
no
one
ever
But
And
do that,
"
he took off his hat and he took off his coat,
the first thing we knew he'd begun it.
HOW
132
With
a
TO
liftof his chin and
Without
a
SPEAK
bit of
a
grin,
doubting or quiddit,
He started to singas he tackled the thing
That couldn't be done, and he did it.
any
There
are
thousands
There
are
thousands
be
that tell you it cannot
that prophesy failure;
The
that point out to you,
dangers that wait to assail you.
But
justbuckle
There
thousands
are
in with
off your
Just take
a
bit of
and
coat
a
go to
one
done;
by
one,
grin;
it;
the thing
Just start in to sing as you tackle
be done, and you'lldo it.
That cannot
woods
November
bare and
still;
November
days are clear and bright;
burns up the morning's chill;
Each
noon
is gone by night.
The morning's snow
Each day my steps grow slow,grow light,
I reverent
As through the woods
creep,
to sleep."
Watching all thingslie "down
I
Fragrant
The
I
before what
knew
never
forest
never
When
Each
beds,
smell,and soft to touch,
sifts and shapes and spreads;
to
knew
before how
sound
Of human
Low
are
much
there is in such
through the forest sweep
all wild thingslie "down
to sleep."
tones
day
Tucked
Sometimes
as
I find
in,and
new
more
coverlids
sweet
the viewless mother
eyes
shut
tight;
bids
ferns kneel down, full in my
sight;
I hear their chorus of "good-night,"
Her
VOWELS
133
half I
smile,and half I weep,
to sleep."
Listeningwhile they lie "down
And
woods
November
bare and
still;
November
days are brightand good;
burns up life'smorning chill;
Life's noon
Life's nightrests feet which long have stood;
Some
soft bed, in field or wood,
warm
The mother
will not fail to keep,
to sleep."
Where we can "lay us down
are
Helen Hunt
"
FELLOW
YOUNG
MY
LAD
going,Young Fellow My
of May?"
On this glittering
morn
"I'm
going to jointhe Colors,Dad;
"Where.
are
you
They're looking for men, they say."
"But you'reonly a boy, Young Fellow My
You aren't obligedto go."
and a quarter,Dad,
"I'm seventeen
And ever
so
strong,you know."
*
"
Jackson.
Lad,
Lad;
*
*
you're off to France, Young Fellow My Lad,
And you'relookingso fit and bright."
"I'm terribly
sorry to leave you, Dad,
But I feel that I'm doing right."
"God
bless you and keep you, Young Fellow My Lad,
You're all of my life,
you know."
"Don't
be back, dear Dad,
I'llsoon
worry,
And I'm awfullyproud to go."
So
*
*
*
don't you write,Young Fellow
I watch for the post each day;
"Why
And
I miss you
And
it'smonths
so, and
I'm
since you
My
awfullysad,
went
away.
Lad?
HOW
134
And
I've had
And
I'm
TO
SPEAK
the fire in the parlorlit,
keeping it burning bright
Till my boy comes
home; and here I
Into the quiet night."
sit
"What
My
No
is the matter, Young
letter again to-day.
did the postman
sigh as he turned
Why
And
look
Fellow
so
Lad?
sad,
away?
I hear them tell that we've gained new
ground,
But a terrible price we've paid:
God grant, my boy, that you'resafe and sound;
But oh, I'm afraid,
afraid."
"They've told
the
truth,Young Fellow My Lad;
You'll never
back again:
come
(Oh God! The dreams and the dreams I've had,
And the hopes I've nursed in vain!)
For you passed in the night,Young Fellow My Lad,
And you proved in the cruel test
Of the screaming shell and the battle hell
of the best.
That my boy was
one
me
live,Young Fellow My Lad,
you'lllive,you'll
In the gleam of the evening star,
wild and the laugh of the child,
In the wood-note
In all sweet thingsthat are.
And you'llnever
die,my wonderful boy,
"So
While
For
We
lifeis noble and
all our
will
owe
beauty
to
our
and
lads
true ;
hope and joy
like you."
"
Copyright,Barse
and
Hopkins.
Robert W. Service.
XI
CHAPTER
CONSONANTS
forming
The
with
because,
of
organ
of the
the
classifies
in
purpose
to
in
important
if
than
more
in
is to
that
wishes
are
the
to
Our
call
tion
atten-
necessary
obtain
to
tionary
dic-
them.
forming
them
one
The
according
points
one
complex,
process.
consonants
activity
mind
in
h,
the
briefly discussing
few
a
keep
to
the
pronounced
most
of
exception
is used
speech
is very
consonants
the
best
results.
The
w,
/,
v,
should
are
and
all the
be
In
forming
let
of
praise, part,
lips
voice
be
careful
6,
p,
wh9
m,
of the
use
lips
to
the
to
to
the
sound.
When
short
the
effect
this
at
lips.Say:
behind
of bu
or
point, Then
time
bi.
The
the
upon
pray,
pup,
her.
6, but
for
it
pronouncing
the
The
occurs.
largely
position
same
stop
test
separation
the
separated
are
explosion.
an
depends
into
first,allowing
at
they
in
keep. Peep
in
are
shut
are
till the
put
reap,
avoiding
times
in the
out
sound
the
of energy
add
forming
then
rush
finished
perfection
The
lips
accumulate;
breath
the
amount
in
learned
arts
the
p,
to
is not
sound
active
very
practiced.
breath
the
to
lips
the
Say
alone,
lips
it
pronounce
over
we
rate,
sepaeral
sev-
words
CONSONANTS
137
beginning or ending with b : blow, belt,bird,
the
burn, blaze, blast, beat, bullet,battle. Note
either
significanceof the words when they are pronounced
with the proper
explosive effect. Practice with the
trying to get the required force
following poems,
for each
or
p
b.
BROKEN
dolls
baby's
My
DOLLS
broken
are
"
there's
a
missing leg
or
arm;
And
has lost her
indeed
one
but
head,
has lost her
none
charm.
For
be
Within
her heart
like
a
so
they
warm
be
new,
or
and
true
they largeor small,
she loves and keeps
all.
them
How
be
they old,or
mother's
perfectlove,for though
her children
mar
And
bruise
their
stain and
hope's
In
of
She
precious heads
hearts
and
with
many
a
scar;
deserted
playhouse, filled with
shattered
lives
men
gathers all
her broken
dolls and
kisses them
"
Nixon
again.
Waterman.
lipsfirmly and let the sound ring
in the nose.
Energy put into the pressure
improves
the sound.
Say: mild, miles, merry,
Mary, me,
the beautiful
maid, made, mall, moving. "Among
pictures that hang on memory's wall."
For
m,
close the
HOW
138
THE
EPOCH
TO
THE
ENDS,
The
epoch ends, the
The
age
The
famous
The
famous
poets
The
famous
men
SPEAK
worked
have
of
its fill
"
shone,
and
come
STILL
IS
is still.
world
has talked and
orators
WORLD
gone,
have
fought,
The famous speculatorsthought,
The famous
players,sculptorswrought,
The famous
paintersfill'dtheir wall,
The famous
critics judged them all.
The combatants
are
parted now
Uphung the spear, unbent the bow,
The puissant crowned, the weak laid low.
war
"
And
Now
in the after-silence sweet,
strifes are hushed, our ears
Ascending
Of this
pure,
doth meet,
the bell-like fame
that down-trodden
or
washed
spirits
Delicate
In the hot press
of the
away
noonday.
And
o'er the
plain,where
Did
its
silent warfare
now
name,
the dead
wage
age
"
O'er that wide
plain,now wrapt in gloom,
Where
a splendorfinds its tomb,
many
Many spent fames and fallen nights
The one
two immortal
or
lights
Rise slowlyup into the sky
To shine there everlastingly,
the bounding hill.
Like stars over
The epoch ends, the world is still.
"
"
The
sound
of
w
Matthew
begins with
long
Arnold.
oo,
but
as
it
ends, the tongue is drawn closer to the soft palate,
causing a slightfriction which gives the effect of
As in pronouncing m, the best results
a consonant.
CONSONANTS
139
obtained
there is a good deal of
only when
in the lips.Say : well, wee, work, woe,
wand.
energy
With
weeping willows
whispering, waving withes
wish
work
to
with
wonderful
whimpering. We
are
It will be
watchfulness.
in
noted
that
the voice
is used
w.
sound
The
was
in the
are
organs
wh
same
of the
spelled originally hw.
position as for w, but
The
the
sound
sound
requires a decided
of h at the beginning. Some
people omit this,giving
the effect of w'ile, w'ich, w'at, w'en.
Practice
ing
sayh-wich, h-wile, h-wen, etc., noting the sound
of h with its explosive force. Then
blend the sounds
perfection
of h and
w.
The
h
of the
combination.
For
/, place the
the
lower
allow
sound
upper
lip,forming
the breath
makes
teeth
at
divided
a
an
the
aspirate
inner
out
edge
aperture,
of
and
energetically.Say: flash,
flaunt, fret, fume, flatter, noting the added
nifican
siggiven to the words
by the explosive
quality.
in the same
In v, the organs
are
position,but the
voice is added.
This
is easily carried
into
sound
chambers.
the resonance
ume,
Say: vicious, very, volvictory, allowing the tones to gain as much
resonance
as
possible. Do not let the lips become
to
escape
"
soft and
Recite
correct
lifeless.
keeping in mind
following poems,
pronunciation of these two sounds.
the
the
TO
HOW
140
SPEAK
IF
IF YOU
keep your head when all about you
Are losingtheirs and blaming it on you,
when all men
If you can trust yourself
doubt you,
allowance for the doubting too;
But make
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or beinghated,don't giveway to hating,
And yet don't look too good, or talk too wise:
can
dream, and not make dreams your master;
If you can think,and not make thoughtsyour aim,
If you can meet with Triumph and Disaster
And treat those two impostorsjustthe same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make
a trap for fools,
Or watch the thingsyou gave your lifeto, broken,
If you
can
stoop and build 'em
And
If you
And
one
heap
risk it on
one
turn
lose,and
And
And
If you
To
And
make
can
can
serve
your
hold
so
on
turn
when
If all men
If you
With
Yours
And
can
and
with Kings
lose the
nor
nor
"
keep
loving friends
can
with you, but none
fillthe unforgivingminute
count
is the Earth
which
is more
By permission of A. P. Watt
sinew
gone,
you
"Hold
your
common
on!"
virtue,
touch,
hurt you,
too
much;
of distance run,
and everythingthat's in it,
sixtyseconds'
"
says to them:
talk with crowds
If neither foes
and
nerve
long after they are
there is nothing in
Except the Will which
If you can
Or walk
about
heart and
force your
tools :
beginnings
your loss;
at your
word
a
with worn-out
of all your winnings
of pitch-and-toss,
again
start
breath
never
up
worth
"
you'llbe
Man, my son!
"Rudyard Kipling.
a
" Son, London, and Doubleday, Page " Co.
CONSONANTS
THE
When
When
Who
Let
us
The
Yet
the heroes
"
thousands
brave
The
honored
STRIPES
returningfrom France,
for the heroes who fell,
we've mourned
we've done all we can for the home-coming man,
stood to the shot and the shell,
all keep in mind those who lingeredbehind
we've
When
SILVER
141
and
have
who
waited
the true who
only the
to go
did all they could
"
do,
silver to show.
for men,
They went from their homes at the summons
They drilled in the heat of the sun,
They fell into line with a pluck that was fine;
shouldered
Each cheerfully
a gun;
They were ready to die for Old Glory on high,
They were eager to meet with the foe;
They were justlike the rest of our bravest and best,
Though they'veonly the silver to show.
Their bodies
And
stayed here,but
the men,
looked
who
For the cause, had
There were
many
Oh, the shipscame
no
their
were
spirits
death in the face
fear,for they knew
to fillup
and
went
there;
each
waitinghere,
place.
tillthe battle
was
spent,
with the blow!
the tyrant went down
he stillmight have reigned,but for those who
And
Yet
And
have
only the
silver to show.
So here's to the soldiers who never
here's to the boys unafraid!
And
Let
us
And
saw
France,
their due ; they were
glorious,
too,
it isn't their fault that they stayed,
give them
mained
re-
HOW
142
They
were
TO
SPEAK
to share in the sacrifice there;
eager
Let them
For
share in the peace
know
they were brave
we
Though they'veonly the
that
by
know.
we
the service
silver to show.
"
Copyright, 1919, by Edgar A. Guest.
Lee Company,
Th
they gave,
Edgar
A
.
Reprinted by permission of The
Guest.
Reilly"
Publishers.
has two
They give the
sounds,the aspirateand
most
For the firstsound
forward
action
the vocal.
to the
tongue.
placethe tongue againstthe upper
teeth at the
edge,allowingthe breath to escape
the sides of the tongue, with a good deal of
over
force. Take
not to let the tongue projectoutside
care
from the definitethe teeth,as this takes away
of the sound. Say: think,thought, through,
ness
death, oath, sixth,fifth,
thrift,
births,deaths.
For vocal th keep the tongue in the same
position
and add voice. Say: this,there,their,
lithe,
mouths,
vocalizes a few words in
bathe, wreathes. Custom
the pluralthat are aspiratein the singular.
Say the following,watching the tongue with a
mirror to see that it is kept just at the edge of the
teeth
:
this and that to
With
'
'Ten
thousand
singwith thought.
fleets sweep
over
thee in vain."
the casques of men,
good blade carves
My tough lance thrusteth sure,
My strengthis as the strengthof ten,
My
heart is pure.
shatteringtrumpet shrilleth high,
Because
The
The
hard
my
brands
shiver
on
the steel,
144
HOW
For
TO
SPEAK
z, the
for s, but we
as
positionis the same
add the voice. Say: doze,rose, zest,zenith,zigzag.
Take
not
to give the zh sound.
care
Keep the
tongue near the front,so that it may be easilycontrolled.
element
The
is
produced when the breath is
directed over
the upturned tip of the tongue so as
it to vibrate. According to Webster's Dicto cause
tionary,
our
language has two forms of r. The first
is known
ing
as
trilled,
rough or initial r, and accordauthorities it should be used only for
to some
platform or stage presentation.It should occur
only at the beginningof a word or closelyfollowing
the initial consonant.
In England, r is often trilled
in the middle of words like "merry,"
America,"
"very," etc. This is not done in America except
in cases
where one wishes to be unusually distinct.
Trilled r may
be used in ordinary conversation
with good effect,
but only one
turn of the tongue
is required.However, when
is speaking before
one
allowable.
a large audience,several vibrations
are
To form trilledr, the tongue is relaxed,allowing
r
"
the fore part to vibrate with
it. Say: roar, rich,run,
over
r's
much
as
possible.Unite it with
proof, brook, grew, gross,
brave, France. Try to see
prove,
vibrations
one
a
you
can
many,
initial
some
grave,
how
dry,
many
make.
In order to pronounce
turn of the tongue,
good
passes
the
reel,rake,trilling
as
consonant:
pry,
the air which
words
one
but should
like these with just
should be able to make
stop the trillon
the first
one.
The
other sound
of
r
is smooth
and is used in the
CONSONANTS
middle
at the end
or
this sound
suggests
sound
of
a
145
word.
also,but it should
a
dialect
of smooth
justenough
or
not
people trill
be done, as it
affectation. To
r, the
to mould
Some
the
tongue should
passingstream
form
the
be raised
of
air,but
it should not
Some
yieldto it.
people omit this sound entirely,
givingthe
effect of ve'b for verb ; wo'se for worse, and motheh
for mother. If one watches
the tongue in ing
pronounche will see that in order
these words correctly,
give a clear pronunciationof r after u or e the
tip must be lifted toward the hard palatein front,
ward
immediately after the tongue has been arched tothe top of the mouth
in forming the vowel
sounds. If it is put too far back, the sound has a
effect. Many
covered,awkward
people west of the
Alleghanieserr in this respect.
The same
people who omit the sound where it
should be,usuallyinsert it in placeswhere it should
not occur.
They often insert r between two words
ends in a
and it,where the first word
like saw
vowel sound
and the second one
begins with a
vowel sound. In words like hearing,where
r comes
between
vowel sounds such as e and i, one
two
the r more
must
distinctlythan he
pronounce
would in the word her,where it occurs
at the end
of a word. This may
for this same
account
person's
in inserting
the words saw
and
the r between
error
it,resulting in saw
(r)it and other like errors,
etc.
such as Saratoga (r)iswon;draw(r)ing,idea (r),
One can
break himself of this habit by sensing
the positionof the tongue in each vowel and passing
smoothly from one to the other.
to
146
HOW
TO
SPEAK
Some
give the sound of w where the r should be,
pronouncing the word very as if it were spelled
at
ve(w)y. They do not allow the tongue to move
all at the tip.One can
correct this fault,especially
with littlechildren in the primary grades,by showing
them
how
to hold
the tongue. If the child has a
his own
mirror,he can compare
positionwith that
of the teacher.
Practice with
this poem:
YANKEE
A foe to freedom
DOODLE,
1917
seeks
by might
To drive us from the sea, sir,
And
shall we
yieldwithout a fight
The birthrightof the free,sir?
Yankee
Doodle, draw your sword,
Yankee
Doodle
Dandy,
Yankee
Doodle, draw your sword,
Doodle Dandy.
Yankee
By
stealth he creeps beneath
the
To slaughter all who sail,
sir,
Shall
To
He's
we
whose
fathers
our
courage
prove
sunk
were
so
wave
brave,
sir?
fail,
ships,he's held their
Defied us by his acts,sir,
Shall we submit to such abuse,
Or hold him to the facts,sir?
sent him
We've
That
He's
You
our
notes, we've
strict accounts
torn
the notes
bet we'll
see
crews,
warned
him, too,
due, sir;
and treaties,
too,
are
"
it through,sir!
CONSONANTS
We'll
arm
We'll
147
ships,we'll man
rallyto the flag,sir;
our
We'll crush the foe beneath
Who
For
when
want
We're
on
our
not
too
feet
stand,
is right,sir,
cause
the world
fleets,
flag,sir.
our
shall take
justicewe
And
We
tramples
our
our
our
to understand
proud
to
fight,sir.
"
Charles Carroll.
I,the tip of the tongue is placed againstthe
the teeth,allowingthe
where it meets
gum,
upper
the sides of the tongue.
of air to float over
current
Pronounce
musically, listening for overtones:
lonely, lonesome, longing,lovely lyric,melody.
"Little,lispingLaura Lee; I'll love no lovelyone
but thee." "Roll on, thou dark and deep blue ocean,
For
roll."
forming t, the tip of the tongue is placed
againstthe upper teeth where they meet the gum,
for an
instant
allowing the breath to accumulate
Center
and then rush forth with a sharp explosion.
the thought upon the extreme
tipof the tongue and
that part as you
take,
use
delicately:
pronounce
der.
tiny,tune, tentattle,
touch,heart,till,
tan, tittle,
In
In
This
d, the positionis the same, but we add voice.
onance
sound, like v and I,is easilyfloated in the reschambers
and
one
should
make
the most
of every
opportunity to gain overtones, as
musical sound helps to carry along the ones
are
not vibrant.
each
that
148
HOW
Pronounce
TO
SPEAK
with
tening
just the tip of the tongue, listo the ringingquality,
where it occurs
: done,
drudge, lead,dainty,delight,dance, dream, did.
Watch
for the t and d sounds
in these poems:
SONG
Stay, stay at home, my heart,and rest;
Home-keeping hearts are happiest,
For those that wander
they know not where
full of trouble and
Are
To
stay
at home
full of care;
is best.
"Weary and homesick and distressed,
They wander east, they wander west,
And
are
baffled and
the winds
By
To
Then
stay
beaten
and
blown
of the wilderness
at home
stay at home,
and
about
doubt;
is best.
heart,and rest;
my
bird is safest in its nest;
O'er all that flutter their wings and
The
A
hawk
is
To
hovering in
stay
at home
"
For
upper
n,
gum
the
fly
sky;
is best.
Henry Wadsworth
Longfellow.
place the tip of the tongue against the
where
it meets
the
teeth
and
hold
it
cally,
musithere,lettingit ring in the nose. Pronounce
for overtones:
listening
never, ninny-nonny,
than ever
before;never, no never.
neat, nest, nearer
ming
Recite the following,trying to keep the humsound you gain on the n going all the time.
CONSONANTS
SOME
Do
YOU
FOR
QUESTIONS
day by day
nearer
come
you
149
all anchored
the port where your dreams
Or do you sail farther and far away
lie?
To
In
Do
an
Are you
a
Drone
A
Hurry-up
A
Do-it-so
or
a
or
to
a
distant star?
a
Do-it-now?
Wait-a-while?
Anyhow?
an
or
sky?
Ought-to-be
hopelessly,
with the Things-that-are?
bide
to
sullen
hitched
In the wagon
you
Or do you drift on
Content
a
the
nearer
come
you
with
sea
angry
Cheer-up-boys or a Never-smile?
of my
It's none
business,that I know,
and crew
For you are the captain and mate
Of that ship of yours, but Where-you-go
Depends on the What-and-how-you-do.
A
A Come-on-lads
May-be-so?
a Guess-you'11-be?
or
a Let's-not-go?
or
A Yes-I-will
an
Are you
Are you
a
Yes
a
Will
or
or
It isn't the least
I know
When
Oh-FIl-see?
concern
of
mine,
time endures,
that well,but as
they thresh the wheat
You'll find it a
big concern
and
To
To
James
W, Foley.
KNIGHTHOOD
knightlyor noble than this is :
think what is true despitehatred and hisses;
speak what is justdespitejestingor jeering,
or fearing.
do what is right without falt'ring
Ah, nothing more
To
wine,
of yours.
"
TRUE
store the
TO
HOW
150
SPEAK
knightlyor noble:
Ah, nothing than this is more
To help and to heal the sad spiritin trouble;
To hearten and cheer the poor comrade
distressful,
And rallyhim back to a battle successful.
noble than
To
To
And
this
knightly:
burden serenelyand lightly,
bear one's own
wound
when its pain is the keenest,
hide one's own
smile when one's joys are the least and the leanest.
Ah, nothing'smore
or
more
knightlyor noble than living
Ah, nothing'smore
in lovingand giving,
To spend one's self,
Christ-like,
and
within
Clean-hearted
Is not this the seal of True
kind-hearted
to
Knighthood, my
"
Denis
others
"
brothers!
A. McCarthy.
sh, the tongue is drawn backward toward
the top of the mouth, allowing quitea space at the
the curve
the air energetically
front. Push
over
thus made.
shine, she, shirt,shine,
Say: shrill,
sheen. Say over
rapidly three times: Six shining
silver ships.Sense the change of positionof the
tongue in changing from the sound of sh to that of z.
in the same
The organs
positionfor zh, but
are
add the voice. Say: measure,
we
treasure,leisure,
regime, azure.
Recite the following,listeningfor the correct
sounds. She stands on the shining shore washing
For
Shiner shines shoes. She shields herself
sails.Susan
from
the
For
mouth,
yours,
with
sun
shimmering parasol.
scarlet,
tongue toward the roof of the
than for ~e.Say: years,
little higher up
y, arch
a
a
yes,
the
sensingthe position.
HOW
152
SPEAK
the drum
But
"Come!
Answered:
You
TO
do
must
the
to
sum
prove
it," said the Yankee
answering drum.
"
if,'mid the cannon's thunder,
Whistling shot and bursting bomb,
What
When
brothers fall around
my
heart grow
But
the drum
cold and
Shall my
Answered:
numb?"
"Come!
there in death
Better
me,
united
than
in life a recreant
"
Come!"
they answered, hoping, fearing,
This
in
Some
Till
a
faith,and doubting
trumpet voice proclaiming,
Said: "My
chosen
Then
Lo!
For
some,
people,come!"
the drum
was
dumb;
the great heart of the nation, throbbing answered:
Bret Harte.
"Lord, we come!"
"
in the
but
position,
the soft palate
the tongue is allowed to remain near
Pronounce
as the tone ringsin the nose.
slowlyand
ringing,singing,
musically,listeningfor overtones:
For ng, the organs
among,
writin'
by peoplewho leave
final g in words
ending in ing. They say
for writing, singin'for singing,doin' for
is often distorted
doing.
In reciting
this poem
of ng.
same
strung, strong.
This sound
off the
are
look out for the final sound
CONSONANTS
LIFE,
153
AND
LOVE
DEATH
Living and loving and dying,
Life is complete in the three.
Smiling or sobbing or sighing,
Which
is for you
or
for me?
Hoping and strugglingand striving,
Dreaming success
by and by;
But whether
we're driven or driving,
live and
We
love and
we
die.
we
hittingand missing,
Life is complete in the three.
Aiming
The
and
fickle world
Which
praisingor hissing,
is for you
or
for me?
limping or creeping,
drives us heartlessly
Time
by;
Meeting and parting and weeping,
Striding or
live and
We
we
love and
we
die.
Yearning, rejoicingand mourning,
Life is complete in the three.
Sackcloth or garland adorning,
Which
The
web
Meshes
is for you and for me?
of our
littleday stretched,
a
sob
or
a
Joyful or joylessor
We
live and
sigh;
wretched,
love and
we
we
die.
fearingand fretting,
Life is complete in the three.
The world's remembrance
or
forgetting,
Wishing
Which
Gnarled
The
and
is for you or for me?
and knotted and tangled
skeins of
Mud-spattered
We
live and
our
or
we
littlelives
lie;
jewel-bespangled,
love and
"
we
James
die.
W.
Foley.
154
HOW
TO
last six sounds
These
the back
SPEAK
are
formed
in the top and
be taken to
must
mouth, and care
shoot them forward justas soon
formed.
as they are
If there is a chance for overtones, one must
that
see
of the
floats in the
sound
each
nose
and
comes
out
at the
nostrils.
Recite
the
following poems,
trying to keep the
thought and feelingbehind the words, and at the
time listen for the liquid,
same
humming tones.
SPINNING-WHEEL
Mellow
the
moonlight to
SONG
shine is
beginning;
Eileen is spinning;
Close by the window
young
Bent
o'er the fire,her blind grandmother, sitting,
Is crooning and moaning and drowsilyknitting.
one
tapping."
"Eileen, achora, I hear some
"'Tis the ivy,dear Mother, againstthe glassflapping."
"Eileen, I surely hear somebody sighing."
wind.
"'Tis the sound, Mother
dear, of the summer
dying."
noisilywhirring,
Merrily,cheerily,
Swings the wheel, spinsthe reel,while the foot's stirring.
Sprightlyand lightlyand airilyringing,
maiden
Thrills the sweet voice of the young
singing.
that
"What's
noise
that
I
hear
at
the
window,
I
wonder?"
"'Tis the littlebirds
"What
And
makes
you
be
chirpingthe hollybush under."
shoving and moving your stool on,
that old song of 'The Coolun'?"
of her true
at the casement, the form
singingall wrong
There's
a
form
love,
"
And
he
whispers with
love:
face
bent, "I'm
waiting for
you,
155
CONSONANTS
Get
We'll
the
in
rove
lattice
the
stool, through
the
on
up
the
while
grove
lightly;
step
shining
moon's
brightly."
the
Swings
and
the
Thrills
Steals
A
her
from
up
Puts
foot
one
seat,
glance
frightened
head,
her
shakes
her
on
stool,
the
lip lays
to
her
to
stirring.
singing.
maiden
young
longs
"
turns
on
the
foot's
ringing,
airily
of
voice
sweet
maid
The
and
lightly
the
reel, while
the
spins
wheel,
Sprightly
whirring,
noisily
cheerily,
Merrily,
and
go,
ringers,
yet
lingers;
grandmother,
drowsy
wheel
the
turns
her
with
the
other.
and
Slowly
maid
and
Slower
Ere
the
Through
and
the
and
the
grove
to
the
the
stop
young
sound;
reel's
her
above
the
swings
wheel
reel
rings
their
her
of
arms
the
slower
lower
round;
the
lattice
leaps
wheel
wheel
now
the
to
and
lower
reel
heard
then
slower
and
Lower
light
steps,
the
now
is
lowly
and
Noiseless
The
swings
easily
Lazily,
lover.
;
;
ringing
and
by
moonlight
lovers
moving
are
roving.
John
"
Francis
Waller.
CHAPTER
XII
PRACTICE
question is
The
person
of
asked, how long must
a
proveme
practice before he can begin to see an imThis
the nanaturally depends upon
ture
the fault,how
firmly it is established,and
one's mental
upon
to work
often
without
grasp
of the matter.
It is useless
clear
understanding of both the
theory and practice regarding the correction of
bad habit. It is incredible how rapidly one
can
any
improve if one works thoughtfully,regularly and
systematically,followingthe logical order of the
a
exercises.
ten
People ask, also,as to when, where and how ofto practice.It is well to work
at a
a littlewhile
time and do it frequently.If a person
can
give an
hour a day, it is better to divide it into six periods
of ten
This
one
minutes
prevents
is
might
each
than
fatigue,which
using muscles
to work, and
come
to take
to the
and
voice
it correctly.Then
one
naturallycomes
organs
it also
it all at
saves
before
is
that
any
one
are
time.
when
tomed
unaccus-
injury which
has
learned
to
likelyto remember
the forms
if he returns
to them
frequently in
hour
cannot
practice. If one
an
a
day, he
spare
should give as much
time as possible.
use
one
more
PRACTICE
157
value of the foregoingexercises lies in the
The
fact that they contain the best forms and sounds
to establish the correct production and placement
and
of sounds
of
speech.But
in mind
that
"
to teach the
rightuse
thing to have
it is one
another
and
eternal
of the organs
sound
a model
to it. If it is true
to live up
it is
vigilanceis the priceof liberty,"
equally certain
that
attention
constant
is needed
desired change in any
physicalhabit. As
have said,one
have
in mind
the ideal,
must
we
know the fault that prevents attainingit,and then
and intelligently
to work
a
faithfully
go to work
change. One must constantly apply the forms he
wise
in his practice
to allhis vocal utterances
uses
;otherthe practiceis of little value. This becomes
automatic after a time so that,with the exception
of a passing thought as to posture and the right
placingand volume of tone at the start,one needs
side
to give but littleattention to the mechanical
to work
a
of the matter.
At
much
done
but
present, because
of the
of the
crowded
programs,
practicewith school children has
"in concert."
the teacher
This
should
is better
give
as
than
much
none
to be
at
all,
individual
help as she can. Many little children who cannot
talk plainly,as well as foreignerswho
are
just
rectly
learningour sounds, could be taught to speak corthe right
if the teacher were
able to show
ments
positionof the organs in forming each of the elethat go to make
language.A mirror
up our
is of inestimable value in working with such cases,
for they can thus see their own
organs and compare
with those of the teacher.
their positions
TO
HOW
158
Parents
SPEAK
constantly taking their children
for help that might be given by any
to specialists
teacher if she were
willing to give a little thought
and time to her own
development. The teacher
for her pupils to copy.
should surely be a model
be helped at once
can
Many people who stammer
by the use of simple exercises to develop instant
to thought. Such
of the organs
drill requires
response
clear,definite thinking, and a conscious relationship
between
brain
and
tongue. Slovenly
speech or stammering is often but the reflection
of careless and indefinite thinking.
Some
are
teachers
system,
child,to
work.
resembling
show
These
far
so
go
to
medical
the
in
progress
cards
as
voice
supposed
are
advocate
records
and
to
a
chart
for each
articulation
start
with
the
pupil in the first grade and follow him along from
by the teachers. With or
grade to grade, marked
without
charts, the teacher might note defective
it comes
within her jurisdiction,and
speech when
feel that development along that line is as important
as
any
It is to be
when
other.
hoped that
this work
the time
considered
will be
part of the regular school program
is not
far distant
just as
as
much
a
the so-called
ture
general culFor not only
other line of education.
as
any
will the correct
of the voice and distinct speech
use
make
successful teacher or publicspeaker,
a more
one
but it adds immeasurably to the pleasure of any
essentials, that it is
"
one
who
listens.
as
necessary
to