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image' or "picture." Some of us who have vivid. imaginations con perhaps, see a very clear picture, with many accessosuch as people running away from the dog, the street or road where the beast is, even the size, color, and other peculiarities of the animal, the foam which flecks his snapping jaws, and the glare of his eyes as he rushes toward us. Perhaps some think they hear the cries of the frightened people or the fierce growls of the creature. This action of the mind in picturing is called imagination. But the thought or vivid image of a mad dog will probably call up something like the unpleasant feelings we should have if we really saw one, just as the thought of a long vacation causes pleasure. These and like feelings we know as emotions and sensations.

Thought, imagination, and feeling are the inner, or mental processes, which find expression in voice and action. If we would express naturally, we must think and feel naturally.

Rules will help us, but they cannot supply the place of mental action.

In order to express our thoughts as we would wish, both voice and body must be trained to respond to the mind. Ease of manner is attained by command of the body and of the voice.

Our first exercises must necessarily be somewhat mechanical and less interesting than those that follow later, but in no art or accomplishment can skill be obtained without drudgery. Neglect of fundamentals is the cause of half the failures in life.

In this book we have no space for explaining the reasons for all our exercises, but the student may be sure that they have been tested by practical experience, and that, if faithfully practiced, they will lead to success.

BRING the heels together and stand perfectly straight, as a soldier would, with arms at the sides, weight not on the heels, but on the middle of the foot, "eyes front." Avoid stiffness, but try to feel as tall as possible.

EXERCISE II

(1) Inhale through the nostrils slowly, filling the lungs from the waist to the top of the chest, but without lifting the shoulders. (2) Hold the breath. (3) Slowly exhale. Imagine you inhale the perfume of a rose. Be careful not to protrude the stomach when breathing, but rather to draw it in.

EXERCISE III

Breathing in the same way, (1) rise slowly but gently, as if trying to reach

the ceiling with your head, until the

heels are as high off the floor as possible without loss of balance. (2) Keep this position and hold the breath. Imagine that the breath in your lungs holds you up as

the hydrogen would raise a balloon. (3) As you exhale, come back to the original position.

The Attitude of Attention or Respect is preliminary to the bow. In practising for public appearance, it is well to walk forward a few steps, as you would on the platform, then bring the heels together as you face your audience.

EXERCISE IV

BOWING

Standing as before, bend the head slowly, glancing from one to another of an imaginary audience as you do so. Do not drop the eyes to the floor. The trunk or torso should have a slight sympathetic inclination. The orator's manner should always be dignified. On the platform he first bows to the presiding officer, then to the audience. If the auditorium is of considerable size, or if he is received with especial applause, he may find it necessary to bow several times, to the right, left, balconies, etc., but without good reason he would do better to confine himself to a single simple acknowledgment.

When a lady bows, one foot is retired with the knee bent, and the body sinks back upon it, then returns to the erect position. This action should not be overdone. The elaborate courtesy is out of place on the platform.

EXERCISE V

FOR FLEXIBILITY AND EASE OF THE BODY

(1) Slowly bend the body forward as far as possible, the arms hanging loosely at the sides. Be sure that the movement is a blend of first head, then torso, and that the torso bends in a curve, not as if the body were

hinged or jointed at the waist and neck and rigid elsewhere. (2) Let the body remain in this position until every joint and muscle of the torso, neck, and arms is perfectly free and hangs by its own weight. (3) Return slowly to an erect position. Repeat several times, or go on to (4) Bend backward in the same way. (5) Return. (6) Bend to the right side. (7) Return. (8) Bend to the left. (9) Return. (10) Circle the torso, i.e. bend forward, and then carry the torso successively to the right, back, left, front, etc., in

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a circle, letting the arms go as gravitation compels them. (11) Return to the erect position, and finally (12) Bow as described above.1

EXERCISE VI

FLEXIBILITY OF THE NECK

Holding the torso erect, bow and circle the head alone in the same way. Later, combine intonation with this exercise to insure freedom of the larynx in speaking, as directed in Chapter VII.

1 In the above exercise the hip will naturally sway in the opposite direction from the chest in order to maintain the balance. Do not try to prevent this. If dizziness results, practice more gently and for a shorter time.

EXERCISE VII

THE SPEAKER'S POSITION

Having finished your bow, carry the weight of the body to ONE FOOT ONLY by swaying the hip out at the

side, until the median line of the body is over the middle of the foot. This foot is called the STRONG foot, as it supports the body. When this position is taken with perfect ease, the body is no longer stiffly erect, but has a graceful and flexible appearance. The shoulders oppose, as we say, the hip, being inclined slightly toward the weak or free side of the body, while the head again inclines slightly toward the strong side. The free foot, that is, the one which does not support the weight, should be carried outward a little, either laterally or obliquely. Be sure that it rests only on the inner edge and that the free knee is perfectly relaxed. It makes no difference whether you stand on the right or left foot.

With the free foot about opposite the strong foot, the position is normal or neutral. With the strong foot retired, the free foot obliquely in front, the position is expressive of concentration, command, or repose. With the strong foot advanced, free foot obliquely retired, the attitude expresses animation, attraction.

In addressing an audience we usually reserve the last