Scorn: I scorn to count what feelings, withered hopes, I have within my heart's hot cells shut up, Catiline. Self-Denunciation : Am I a coward? Croly Who calls me villain? breaks my pate across? Ha! Why, I should take it for it cannot be, But I am pigeon-livered, and lack gall Hamlet, Act II., Sc. 2. Spirited Action : Shakespeare Now storming fury rose, Of conflict; overhead the dismal hiss Paradise Lost, Book VI. Milton Solicitude: How camest thou hither, tell me? and where. fore? The orchard walls are high, and hard to climb; Romeo and Juliet, Act II., Sc. 2. Solemnity : Shakespeare All that breathe Will share thy destiny. The gay will laugh Their mirth and their employments, and shall come The youth in life's green spring, and he who goes By those who in their turn shall follow them. Sorrow: O, ever thus, from childhood's hour, I never loved a tree or flower, To glad me with its soft black eye, The Fire-Worshipers. Bryant Moore. Sublimity Thou glorious mirror! where the Almighty's : form Glasses itself in tempests; in all time, Calm or convulsed,-in breeze, or gale, or storm,- Dark heaving ;-boundless, endless, and sublime,— Of the Invisible; even from out thy slime The monsters of the deep are made; each żone Obeys thee,-thou goest forth, dread, fathomless, alone! Childe Harold, Canto IV. Suspicion Let me have men about me that are fat; Byron. Shakespeare. Terror Angels and ministers of grace defend us! Id. Threat Dark gamester! Lose not a trick !—By this same hour to-morrow Richelieu, Act IV., Sc. 2. Bulwer. Tranquillity: One moment I looked from the hill's gentle slope, All hushed was the billows' commotion, And o'er them the light-house looked lovely as hope, Veneration: This royal throne of kings, this sceptered isle, This earth of majesty, this seat of Mars, This other Eden, demi-paradise; This fortress, built by nature for herself, This blessed plot, this earth, this realm, this England! Richard II., Act II., Sc. 1. Shakespeare. Vindictiveness: Let them pronounce the steep Tarpeian death, Vagabond exile, flaying, pent to linger Their mercy at the price of one fair word; Coriolanus, Act III., Sc. 3. Warning: Lochiel! Lochiel! beware of the day When the Lowlands shall meet thee in battle array! Id For a field of the dead rushes red on my sight, And the clans of Culloden are scattered in fight: They rally!—they bleed !—for their kingdom and crown; Woe, woe to the riders that trample them down! Lochiel's Warning. Campbell. Wit: [Chief Justice.] Well! the truth is, Sir John, you live in great infamy. [Falstaff.] He that buckles him in my belt, cannot live in less. [Ch. Just.] Your means are very slender and yout waste great. [Fal.] I would it were otherwise; I would my means were greater, and my waist slenderer. K. Henry IV., Part II., Act I., Sc. 2. Woe: O piteous spectacle ! O bloody times! While lions war and battle for their dens, Poor harmless lambs abide their enmity. Shakespeare. . Woe above woe! grief more than common grief! K. Henry VI., Pt. III., Act II., Sc. 5. HINTS TO THE STUDENT OF ELOCUTION. Id. Study the text of what you read, that you may not be confined too closely to the book. Never read to others what you do not thoroughly understand. "Think the thought" intently and clearly when reading or speaking. In description, form in the mind well-defined pictures of the things or scenes described. What you would have others see, you must yourself see; what feel, you must feel. Read to, and not at or over the audience. Cultivate direct address. to the multitude. Speak to the individual, not Regulate the voice to the size of the auditorium. Commence in a low pitch, speaking slowly and distinctly, and gradually elevate the voice without undue effort until conscious of being heard and understood by all in the house. Generally, the larger the auditorium, the higher must be the pitch and the slower the time. return. In halls that echo badly, speak slowly, distinctly, and with moderate force, always giving the sound time to You can neither run away from echo nor beat it back. As your shadow, it will follow at your heels, and like a hungry wolf, howl in your ears. The experienced speaker can judge of the ability of his voice to reach the more distant points, by the degree of exertion required to fill the auditorium; and he may estimate the interest of his hearers, by the degree of attention given. In the use of the voice, let the rule be, economy, consistent with efficiency. Endeavor to liberate as well as develop. Do not seek for power in the throat, but in the diaphragm and the abdominal muscles. The respiratory muscles are the "handles" to the "voice-bellows," and upon them the speaker should depend for power. The directions given in the division on "Voice Culture," may be repeated with emphasis here: Speak THROUGH the throat—not with it,―letting the tone lay hold of the throat, and not the throat hold of the tone. Do not let "the vowels swallow up the consonants." |