E e b ic at eb t o

T HE ST UD EN T S O F T HE KA N SAS
ST AT E N O R M A L SC HO O L

PREFAC E

creati o n of literature dem ands th e u nite d e ff o rt of

min d an d h e art and will The study o f literature also d e
m an ds the unite d e ff ort o f min d and heart an d w i ll Ana
lytic or critical s tudy alone calls forth only mental effort
C reat ive study m a kes deman ds upon the emotion s and the
will No literature h as b e en truly studi e d o r its be auty
truly felt until it has be e n studie d for interpretive o r crea
tiv e readin g
In the stu dy for interpretation the min d must dwell longer
on the thought , an d in con sequence must nd deep e r mean
in g in it In the effort to int e rpret the thought , the thought
i n a ash seem s to be th e spe ak er s o w n, e motion is aroused ,
and a ner appr e ciation o f the thought d e veloped
Interpretation demands no t only und e rstan din g and em o
tion, but also will p ower
A n oble interpretation o f any
great work o f literat ur e make s gr e at demands upon the
speaker s w i ll p ower
The giving o f upliftin g thought to
o thers d e velop s the mind an d h e art an d will
Th e mind nds its expr e s sion through voice a nd body ;
h enc e these agents o f e x pre ssion should be traine d to act
i n harmony with the m i nd
All study o f reading , when the re alm o f lit e ratur e is e n
t e r e d , should lead to an intellectual and spiritual u nd e r
standing of the selection studied L ik e all art , r e ading
should be sincer e an d natural
This volum e is designed as a t e xt book o n reading and
S p e akin g , in college s , n ormal sch o ols, and secondary sch ools
T HE

PR EFA C E

R hetoric an d this meth od o f s tudy f o r i nte r p r etati o n are

so c o rrelate d th at the illustrative material here use d will
doubtles s b e o f s e rvice to teachers of English as well as t o
teach e rs o f reading
The author wishe s to e x press h er appreciation o f the
court e sy o f the following publishers for permission to use
material published by them : Messrs Little , B rown
Co
Messrs Maynard , Merrill
Messrs Lee
Shepard ;
Messrs Harper ; Messrs A C M c C lur g
C o ; Messrs
H o ughton M it i n
C o ; the Fleming H R e vell C o m
p any , an d Messrs Edgar S Werner
Co
Sh e wishe s to acknowledge her in debtedne s s to Mr
B ooker T W ashington for permission to use a n ext r act
fr o m one of h is spee c h es ; to D r A R Taylor , president
o f Jame s Milliken University , and to Mr Frank Nelson ,
state sup e rintende nt of public instruction , K ansas , f o r
th e ir criticism o f a nd sugg e stion s i n r e gard t o , her manu
script ; and to D r C W Emerson , wh o rst led her to
discover the true principle s of the art of expres sion
.

C O NT ENT S
PAG E
v ii

Pa r t

Fi r s t

I N T ER PR ET I V E

R EA D I N G

D IVISIO N

I
IN TE RPRE TIVE RE AD ING THAT AP P E A L S
STANDING
Chap te r I Li terary analysi s
C ha p ter II Se q ue nc e o f t h ou ght
C h ap t er I II C learne ss o f e nu nc iati on
C hap ter I V Forms o f em p hasis

To

T HE

UND E R
1

15

22

D IVISI O N

II

INTE RP R ET IVE READ IN G THAT APPEAL s T o THE Em oTIO N s

Chap te r I W ord p i c ture s
C hap te r II Atmosp here
Chap ter III T one c olor
Cha p ter IV Rhy thm Movement
Chap te r V Personation
.

29
61

84
95

109

D IVI SIO N

III
SP E A KING THAT APPEAL S

INTE RPRE T IVE READ ING O H

W ILL
Chap ter I D ire c tne ss
C ha p te r II Vi g or o r stre ng th
Chap ter III Seri ou sne ss
C ha p t er I V Al l ianc e w i th t he au d i e nc e
C ha p t e r V Pe rsuasi o n
.

T o T HE

143
149

15 8

163

166

CON TENTS

:1

Pa r t

S e c o nd

BR EA T HI N G
DIVI SION
T HE

RE SP I R AT O RY O R GANS

17 9

D IVI SI O N

II

B RE ATHI NG EXE R C I SE S

182

Pa r t T h i r d

VOC A L

C U LTU RE

D IVI SIO N

T H E VO C A L O R GANS

184
D IVISI O N

T HE PR O D U C T I ON

O F T O NE
D IVISI O N

VO C A L

II
190

III

C U L T U RE

190
D IVISIO N IV

T HE O R G AN S

OF

AR TI C UL AT ION

196

P a r t Fo u r t h

G ES T U R E
D IVI SI O N

R ELAXIN G EXE R C I SE S
1 Ex er c i se s f o r th e l imb s
.

a
b

T he

T he

arms a nd hand s
l e g s a nd f ee t

198
198

200

C O NTEN TS

xi

PAG E

2 Ex erc i se s f or t h e

202

3 Ex erc i se s

203

DIVISI O N

II

PO I S IN G EXER C I SE S
1

Bac kward p oi se o f th e
Stand ing p o si ti ons
O b l i q u e t ransi ti on a nd
Transi ti on a nd kneeli ng
Pre p aratory e xerc i se f o r w alki ng

6 Poi si ng
.

of

204

205
207

208

t he h ea d

209

D IVISI O N

III
210

D IVISI ON I V

RE S P ONS IV E G E ST UR E EXE R C I SE S
1 G e sture s o f salu tat i on af rmat i o n o r a sse rt i on c hee ri ng
2 G e sture s o f sac red a d dre ss adorat i on e ntreaty d ire c t
assert ion o r a i rm a ti o n
3 Ge sture s O f c ommand t o b e si le nt p rohi b i ti o n su p p r e s
si o n o r d e stru c t i o n
D ou b l e g e st u re s O f c ommand t o b e sile nt p rohi b i ti o n o r
d e stru c t i o n a nd b e nedi c ti o n
" G e sture s o f sa c red de re c at i o n revelat i on l ife taki n o f
p
g
oath
Ge st ure s O f l iste ni ng p layful warning o r threat
G esture O f p aral lel i sm
G e sture o f su p p l i cati on o r su b limi ty
D ou b le g e stu re o f su p p l i c at i on o r su b l imi ty
Si ng le d e sc ri p t i v e g e st ure s o f ri si ng a nd fa l l i ng a nd u p
w ard de si g nat i on
D ou b l e g e sture s d e sc ri p t i ve o f e x p ansi ve ri si ng a nd fall
'

218
219

220

221

221
222
223
223

224

224

225

i ng
12 D ou b l e g e sture s o f g rand e u r e xal tati o n o f fee li ng m a g
ni tud e vastne ss p aral lel re p u lsi on, su cc e ssi v e r e p u l
,

io n e ntrea ty a nd d ej e c ti o n
Sing le g e st ure s o f d i re c t p re se ntati o n o r addre ss a nd
ll
n
t
d e c lara ti o n my ste ry t e
e
e
ra
a
r
e
a
e
a
i
o
ss
l
n
dd
;
p
p
g
r d e ni a l de si g nat i o n
n
n
e
a
i
o
t
i
o
n
t
o
ec
g
j
s

13

226

227

C O NT ENT S

xi i

14

D ou b le gestures

PAG E

d i re c t p re se nt ati on or add re ss,

V e rsa li ty , se p ara ti o n c ou p l ed w i th vast ne ss, e x p ansi v e
c ove ri ng , c alm o r d iff usi on
230
of

Si ng le g e stures o f c ommand t o g o or c ome

16 Si ng l e g e sture s o f i nv i tat ion t o go a nd c ome
15

231

231

IN D EX O F SELEC TIONS
PAG E

LIT ER A RY ANA LYSI S

A Chri stmas Invi tat ion
T he C hee rfu l Lo c ksmi th

C harle s D i ckens
C harl es D i c ke ns

O F TH O U GHT
Lord C hatham s
T h e Rho d ora
T h e Fall of Ant w e r p

2
5

SE Q U E NCE

Mac aul ay

Ral p h W al d o Emerson
J ohn LOthI Op Motley

11

Shake sp eare

20

FO RM S

Si r
O c ea n

W al ter Sc o t t

12

22

Lord Byron
Shake sp e are
Ad elaide Pro c te r

26

30

Nathanie l Haw thorne

W ashi ng ton Irv i ng
Charle s D i c kens
Lord Ly tt on
Ral p h W aldo Emerson
Vi c tor Hu g o

Vi c tor Hu g o

W ORD

C LE A RNE SS O F ENU N C I ATI O N

Hamle t s Advi c e t o t h e Playe rs
O F EM P HAS I S
Lo chinvar
T h e Ap o stro p he t o t h e
Sp ee ch o f He nry V
T h e Lo st C hord

26

28

PI C T U R E S

T h e Fau n O f Prax i tel e s

M oonli g ht

on

the

Alhamb ra

A C hri st m as a t Bo b C ra tc h i t s
T h e W i t ch s Cav e rn
Beau ty
Jean Valj ean a nd the B i shop
Par t I
Jea n Val j ean a nd t he B isho p
Par t II
T he Ri m e o f th e Anc i e nt Mar ine r

T Coleri d ge
.

33
36
41

49
56

58

IN D EX O F SELEC TIO NS

xiv

ATMOSP HE RE
T he Ride for Li fe
Hymn b efore Su nri se
o f Chamou ni
T he Sunri se
T h e Su nse t
Psal m XXIV
T h e O p e n Sky
C l oud B e au ty
Pi p p a Pa sse s
Eno c h Arde n

PAG E

Charles G ordon

61

T Coleri d g e
W illi am W ord sworth
W i lliam W ord sworth
B i ble
J ohn Ru ski n
J ohn Ruski n
Ro ber t Browning
Lord Tennyson

67

i n t he Val e

69

70

72
73

75

78
81

T O NE

CO L O R
Ap p l edore
W h en t h e Cow s Come Home
D i sc ord (Paradi se Lo st)
C onc ord (Parad i se Lo st)
T h e Catara c t b f Lodore
T he Cu l p ri t Fa y

RHYTHM

86

88
89
89

92

M O VEME NT

C e c i lia s Da y
Come int o th e G ard en Maud
T h e Charms O f Rural Li fe
Fl ow G ently Sw ee t Afton
Lu cy
Lu c y
To a Skylark
O de

James Russell Lowe ll

M rs Ag nes M i tchell
J ohn M ilt on
J ohn Mil ton
Rob er t Sou they
J ose ph Rodman Drake

o n St

John Dryden
Lord Te nnyson
W ashing t o n Irv ing
Rob ert Burns
W i ll iam W ord sworth
W illiam W ord sworth
Pe rcy B She l ley
.

95

98
100

103
104

104
106

PE R S O NAT I ON
The

Ri val s

Ri chard B
Scene

Ac t

Ri chard B

III
As Yo u Li ke
Ac t

Sc ene

It

She ri dan

113

Shake sp eare

117

Shake sp e are

121

Shakesp eare

123

III

AS Yo u Li ke It
Ac t V , Sc e ne I

Ha mle t s Fi rst Sol ilo q uy

.

109

Sc ene

She ri dan

T h e Ri val s

Ac t

IND EX O F SELEC T IO NS
Haml et
Ac t I

J u l iu s

Sc ene

M acb e th
.

128

Shake sp eare

132

Sh a ke sp ear e

135

So p ho c le s

137

Lord Lyt ton

14 1

W endell Phill i p s
D aniel W e b ste r

144

W il liam M c Ki nl e y

14 9

Edward Evere t t

152

Charl e s Phi ll ip s

155

Ab raham Li nc oln
G e org e W ashi ng ton

158

159

Shake sp eare

164

Sc e ne V

Ac t V

Shake sp eare

III

Macb e th
Ac t I

124

Sc e ne I V

Ac t IV

Sc e ne

Antig one

OR

PAG E

Shake sp eare

C ae sar

Ny d i a

XV

Sc ene
a nd Io ne

AT O R E D I REC TNE SS
T ou ssa i nt L O u v e r tur e
Ex trac t f ro m Re p ly t o Hayne

VI G O R

O R S TRE NGTH
O u r D u ty t o t h e Phi l i p p i ne s
T h e Chara c te r o f
Nap ol eon Bonap arte

14 6

SE RI O U SNE SS

G e ttysb urg Addre ss

Fare w e ll Add re ss

AL LI ANCE W I TH THE AUD IE NCE

Mar c A nt o ny s O rat i o n

PE R S U AS I O N

Ameri canWa r
Lord Chatham
True Elo q ue nc e
D anie l W e b ste r
Ex tra c t from th e Fi rst Bu nke r
Hill Monument Orat io n
D anie l W e b ste r
Ex tra c t from th e Se c ond Bunke r
Hill Monume nt Oration
Dani e l W e b ste r
Booke r T W ashing ton
T he B e tte r Par t
Sp ee c h

o n t he

166
169

17 0
17 2

17 4

PA R T I
IN TERPR ET I VE

R EA DIN G

'

fo l lowi ng s teps i n interpretive reading are based

upon t he principle s Of literary art The st e p s are a r ranged
in thr e e group s : those that app e al to th e u nd er sta nd i ng
alone ; those that appeal through the understanding to the
and those that appe al through the un derst a nding
e m o ti o ns
and the em otion s to the w i ll
The rst group includes the foll owing steps :
C hapt e r I Lit e rary analysis
C hapter II Sequence o f thought
C hapter III C le arne ss o f e nunciation
C hapt e r I V Form s Of emphasis , melody , i necti o n ,
slide, v o l ume , f o rce , p au se
T HE

D IV I S I ON

IN T ERPRET IVE READ ING THAT APPEALS

U N DERST AN DI NG
C HA P T ER

TO T HE

L i t e r a r y A na l y s i s

The preparation for interpretive readin g is stu dy o f the

thought Stu dy a selection to determ i ne its general theme ,
an d the sub di visi o ns Of the theme
Then study the selec
.

I NT ER P R ETIVE R EA D ING

tion line by line to understand t h e me aning and forc e of

th e words R ead the selection aloud at l e ast o ne hour a
day Hold the dominant th o ught in min d as y o u read
This giv e s u ni ty to delivery D w e ll o n the th ou ght until
a ni m a ti o n
u
read
with
o
y
.

S EL E C T I ON S

A C HRI STMAS IN VITATIO N

The door of Scrooge s counting house was open , that he

might keep his eye upon his clerk , who , in a dismal little
cell beyond , a sort o f tank , w as c o pying letters
Scrooge
had a v e ry small re , but t h e cl e rk s re was so very much

sm aller that it look e d lik e o ne coal But he couldn t r e

plenish it , f o r Scroog e k e pt the coal box in h is own room ;
and , so surely a s th e cl e rk came in with the shovel , t he
master pr e dict e d th at it would b e n e ces sary for them to
p art W h e r e for e th e clerk p u t o n his white comforter , and
trie d to w arm himself at the candle ; in which effort , not
being a man of strong ima g ination , he failed

A merry C hristmas , uncle ! Go d s ave you ! cried a

cheerful voice
It w as the voice o f Scrooge s nephew , who
cam e upon him s o quickly that this was the rst intimation
h e had o f his ap p roach

Ba h !
s aid Scrooge
Humbug !
He had so he ate d himself with rapid walk i ng in the f o g

an d frost , this neph e w o f Scrooge s , that he w as all in a

glow ; his fac e was ruddy and h ands ome ; his eyes sparkle d
and his breath smoked agai n

s aid Scrooge s nephew ,

C hristmas a humbug , uncle !

Yo u don t mean that , I am sure

I do , said Scroog e
M e rry C hristmas ! W hat right
h ave you to be m e rry ? W hat reason have y ou to b e m e rry
You re p o or enough
O ut upon merry C hristmas !
-

L IT ER A R Y AN A LY SI S

Wh at s C hristmas tim e to you but a time for p aying bills

without mon e y ; a tim e f o r nd i ng yourself a y e ar old e r ,
a nd no t a n hour rich e r ; a t i m e for ba l anc i ng your books ,

and h av i ng e v e ry item in e m throu g h a roun d doz e n Of

month s p r e s e nt e d d e ad again st yo u ? If I could work my

will , s aid Scroog e indi gnantly , e very idiot wh o goe s

ab o ut with M e rry C hr i stm as o n his l i p s shou l d b e boil e d
with his o wn pudding , an d buried with a stake o f holly
through his heart He should !

Uncle ! plea de d the n e ph e w

N e phew ! returned th e uncle , sternly , ke e p C hristmas

in you i Ow n way , an d l e t me ke e p it in mine

Bu t you
K eep it !
rep e at e d Scro oge s nephew

don t keep it

Let me leav e it alone , then , s aid Scrooge

Much
goo d m a y it do you !
Much good it has ever done

you !

There are m any things from which I m i ght h ave derived

good , by which I have not prot e d , I dar e sa y , r e t urn e d

the n e phew , C hristm as among the rest But I am sur e I

have always th ought o f C hristmas time , wh e n it has come
ro und apart from the veneration due to i t s s acred name
an d origin , if anything belonging to it can be a p art from
that as a good t i m e ; a kind , forgivin g , charitabl e , p l e as
ant time ; the o nly time I kn o w Of , in th e lon g cal e ndar o f
the year , wh e n men an d women seem by o ne co ns e nt to
open th e ir shut up hearts freely , and to th ink o f p e o p l e
below th e m as if they r e ally w e re fellow passe ng e rs to th e
grav e , and not an oth e r race o f cre atur e s bo un d o n other
j ourneys And therefore , uncle , though it has never put
a scrap O f gold o r silve r in my p ock e t , I believe that it h a s
done me good , and w i ll do me good ; an d I sa y , Go d bless

it !
The clerk in the tank involuntarily applauded Be c om

'

I NT ER P R ETI V E R EA D I N G

ing i mmediately

sensible Of the impropriety , h e poke d th e

re , and e xtinguishe d the last frail spark forever

L e t m e hear anoth e r soun d from y o u , said Scroog e ,

and yo u ll keep your C hristmas by lo s i n g your situation !

Y ou re quit e a pow e rful spe ak e r , Sir , he add e d , tur nin g

to his n e phew
I wonder yo u don t go into Parliam e nt

D on t be an gry , uncle
C om e ! D in e with us to mor
.

r ow

Scrooge

s aid th at he w ould se e him

Ye s , ind e ed h e did
He went th e whole length o f the expr e s sion , an d said that
he w ould se e him in that extremity rst

?
?
But why
cried Scroog e s neph e w
W hy

W hy did you get m arried ? said Scroog e

B e caus e I fell in lov e

B ecause y o u f e ll in lov e !
growled Scroog e as if th at
were the only o ne thing in the w orld more ridiculou s than

a merry C hristmas
G oo d aftern oon !

Nay , uncl e , but yo u never came to se e me before th at

h app e ned W h y giv e it as a r e ason for n ot coming now ?

G ood aft e rnoon , said S crooge

I w ant nothing from you ; I ask nothing o f y o u ; why

cannot w e be friends ?

said Scroog e
Good aft e rnoon !

I am sorry , with all my h e art , t o nd you so resolute

W e hav e nev e r had any quarrel to which I have b e en a
p arty B ut I hav e m ade th e trial in homage to C hristmas ,

and I ll ke e p my C hristmas hum o r to the last S0 A

Merry C hristmas , uncl e !

G oo d afternoon , s aid Scrooge

An d A Happy New Ye ar !

said Scroog e
G ood afternoon !
His nephew left t h e ro o m without an angry word , not
withst a n ding
C H AR LE S D I C KE N S (adapted )
.

L ITER A R Y AN A L Y SIS

SU G G E S T I V E

Q U E S T I ON S

Fr o m what work is this selection tak e n ?

2 W hat is the general them e , o r domi nant thought , o f
the selection ?
3 How i s the C hristmas invitation introduc e d ?
4 W h at do you nd in this introduction that is the key
not e to th e charact e r O f Scrooge ?
5 How do e s the en vi ronm ent accord with th e character
Of Scroog e ?
6 W hat p art do e s the clerk play in th e d e v e lo p m e nt o f
th e story ?
7 At what line do e s t h e dialo gue in regard to C hristmas
b e gin ?
8 D raw a contrast between Scrooge and his n e phew
9 W hat atmosph e re does the nephew carry with him ?

W h at
10 N otice the n e phew s tri b ut e to C hristmas
contrast do you discover ? W hat l e ss on is indirectly taught ?
11 Show h o w t he nephew s C hristmas humor was test e d
12 W h at is the conclusion o f the C hristmas invitati o n ?
1

E C HEERFUL LO C KSMI T H

TH

From th e workshop o f th e G olden K e y th e re is sued forth

a ti nkling sound , so merry and good humor e d that it sug
g e ste d the id e a o f s ome o ne workin g blithely , an d mad e
quite pl e asant music
N O man who h a mmered o n at a
dull monotonous duty could have brought such che e rful
note s from st e el an d iron ; none but a chirpi ng , h e althy ,
honest h e arted f e llow , who made the b e st o f e verythin g ,
and fe lt kindly towards e v e rybody , could hav e don e it for
an in stant He migh t h av e been a copp e rsmith , and still
been musical
If he had sat in a j olting wagon , full of
-

I NT ER P R ETI V E R E A D I N G

rod s o f iron , it seem e d as if he would h ave brought some

h armony out o f it Tink , tink , tink cle ar as a Silv e r

bel l , a nd audible at e v e ry p ause o f the streets h arsher

noise s , as though it said , I don t car e ; nothing puts me

o u t ; I am re solved to be h appy
W om e n scolded , children squalled , h e avy carts w e nt
rumblin g by , horrible crie s proc e ed e d from the lungs o f
h awkers ; still it struck in again , no high e r , no lower , no
louder , n o s ofter ; no t thru sting its e lf o n p e ople s n otice a
bit the more f o r having been outdone by loud e r sounds
tink , tink , tink , tink , tink
It w as a p e rfect embodiment o f the still, small voice ,
free from all cold , h oarsen e ss , huskin ess , o r unhealthines s
of
any kind ; foot passen gers slack e ned their p ace , and
wer e dispos e d to ling e r near it ; n e ighbors wh o h ad go t up
splenetic th at morni ng , felt good humor ste aling o n them
as they heard it , and by degr e es became quite sprightly ;
m others danced th e ir babie s to its ringi ng ; still th e same
magical tink , tink , tink , c a me gaily from the workshop of
the G olden K ey
W h o but the locksmith could have made such music ? A
gle am of sun shining through th e uns ash e d window , and
ch e ck e ring the dark workshop with a broad p atch Of light ,
f e ll full upon h i m , as th oug h attract e d by his sunny h e art
There he stoo d w orking at his anvil , his fac e all radiant with
exercise and gladness , his sl e eve s turned up , his wig pushed
the e asiest , freest , happiest man
o ff his Shining forehead
in all th e world
B e side him sa t a Sle e k cat , purring and winking in the
light , and fallin g every no w and th e n into an idle doze , as
from exc e ss o f comfort
The very locks that hung
aroun d had somethi ng j ovial in th e ir rust , and seemed , like
gouty gentlemen of hearty n atures , disp o sed t o j oke on their

i n rm i t i e s

LIT ER AR Y A N A LY SI S

T h ere was nothing surly o r s e vere in the whole scene

It seemed impossible that any o ne o f the innum erable keys
could t a churl i sh stro ng b o x o r a prison door
R ooms
wh e r e th e r e were r e s books g oss i p and ch ee ring lau g ht e r
thes e w e re the i r proper sph e r e o f actio n Plac e s of dis
trust a nd cruelty and restraint they would have quadruple
locked for e ver
C H AR LE S D I C KE N S (adapted )
.

D IV I S I ON
C H A PT E R

Se q u e nc e

Of

II

Th o ug h t

Lite r a t u re h as se quence O f thought when e ac h c onsoc u

tive sentence is t he outgrowth o f the preceding s e nt e nce
O ral reading has sequence O f thought when the r e ader
h olds the c onnec ted th ou ght i n m i nd a s h e r e a ds
Study each selection to understan d th e relation o f se n
tence to sentenc e
R e ad aloud until t h e readi ng h as con
t i nui t y an d smooth ne ss
L ack o f understandin g o f the
thought is indicated by t he constant and incorrect use of
the falling inection Thi s make s the reading brok e n and
disconnect e d To overcome broken a nd disconnected de
livery , concentrate your mind o n the c onnected thought
and re ad aloud
.

S E L E C T I ON S

L ORD C HA T HAM

S ELO Q UEN C E

His gure , when he rst appeare d i n P arliament , w a s

strikingly graceful and commanding , his fe atures high and
noble , his eye full Of re
His voice , ev e n when it sunk
to a w h isper , was heard to th e remot e st benches ; and w h en
he straine d it to its full e xtent , the s o un d rose like the
swell of the organ of a great cathedral , sh ook the h o use
with its peal , and w as heard through lobbies and down
staircas e s , to the C ourt Of R equests and th e pr e cincts o f
He cultivated all thes e e min e nt a d
W e stminster Hall
vantages with the m o st assid u ous care
His action is de
scribe d by a very malignant O bserver as equal to that o f
.

SEQ UEN C E O F T H O U G H T

His play Of countenance w as wonderful ; he f r e

quently discon certe d a h ostile orator by a single gl a nce o f
indignation o r scorn Every tone , from the impassioned
cry t o the th rilling asid e , was perfectly at his command
It i s by n o me ans i mprobable th at the pa i n s which he took
to improve his great p e rsonal advantage s had , i n some r e
sp e c t s, a p reju di cial O p e ratio n, and tended to nourish in him
that passion f o r theatrical e ff ect which , as we have alre ady
remarked, was one o f the m o st conspicuous blemishe s in
his character
B ut it was not solely o r principally to outward accomplish
m e nts that Pitt owed the vast inuence which , d u ring n e ar
ly thirty years he e xercise d over the House o f C ommons
He was undoubtedly a great orator ; and from the d e sc r i p
tion s given by his contemporaries , an d fragments O f his
s p e ech e s which still r e main , it is not dif cult to discov e r th e
nat ur e and e xt e nt o f h i s oratorical p owers
H e was n o speak e r o f set speeche s His few prepare d
discours e s w e re complet e failur e s
The e laborate panegyric
which he pronou nced on G eneral W olfe was regarded as

N O man , says
the very worst of all hi s performances

a critic who h ad O ften heard him , ever knew so littl e O f

wh at h e was goin g to s ay
Indeed h is facility amounted
to a Vice He was no t th e master , but the slave , o f his own
sp ee ch
SO littl e self comman d had he wh e n once he f e lt
the i mpuls e , that h e did not like to take part in a d e bat e

when his mind was full of a n important s e cr e t of stat e

I

must S it still , h e once s aid to Lord Shelburne o n such an

occasion ; for , wh e n once I am up , ev e rythin g that is in

my min d com e s o u t
Yet h e was not a great debat e r That h e sh ould n ot
h ave b ee n so wh e n r s t he enter e d the Hous e of C ommo ns
is not strange
Scarc e ly any p e rson has e ve r b e com e so
wit h o u t lon g practic e and many failures
It was by slow
G arrick

I NT ER P R ETI V E R E A D I N G

10

degrees , as Burke said , that C harles Fo x became the m ost

brillia nt a nd p owerful d e bat e r th at ev e r liv e d
C harle s
Fo x hims e lf attribut e d his o w n succ e s s t o the resolution
which he formed wh e n very youn g , of speaking , w e ll o r ill ,

D urin g ve whole s e ssions ,

at le ast o nce ev e ry night
he us e d to sa y , I Spoke e v e ry night but o ne ; an d I r e gret

only that I did n ot sp e ak o n that night t o o

Indeed ,
with the exception o f Mr Stanley , whose knowle dge O f th e
sci e nce o f parliamentary defense r e sembl e s an instinct , it
would be di f cult t o nam e any emin e nt debater who h as not
made h i mself a master o f his art at the exp e nse of his
audi e nce
B ut , as this art is o ne which even the able st men have
seldom acquir e d without long practice , so it is o ne which
m e n Of respectable abilities , with assiduous an d intrepid
practic e , seldom fail to acquir e
It is singular that , in
such an art , Pitt , a man Of great parts , o f great uency , o f
great boldness , a man wh ose wh ole life was p asse d in par
li a m e nt a r y conict , a m an wh o , during s e veral ye ars , w as
th e leading minister o f the crown in th e House Of C o m
m o ns , should never h ave attaine d to high e x cellenc e
He
spoke without premeditation ; but his speech follow e d the
course of his o wn th oughts , an d not the course o f the pre
He could , in deed , treasure up in hi s
v i o u s discussion
memory som e detache d expr e ssion O f an O pponent , and
make it the te x t for lively ridicule o r solemn reprehension
Some o f the most celebrated bursts of h is eloquence were
called forth by a n unguarde d word, a laugh , or a cheer
But this was the only sort o f reply in w h ic h he appears to
have e x celle d He was , perh aps , the only great English
orator wh o did not thi nk it any advantage to h av e the last
word , and who generally spoke by choice before his most
formidable antag o nists
His merit was almost entirely
rhet o ri cal He did n ot succee d either in e x p o sition o r i n
.

SEQ U EN C E O F

TH O U GHT

11

r e futation ; but his sp ee ch e s abound e d with lively illustra

tions , strik i n g ap oth e gm s , w e ll to l d a necdot e s , happy allu
s i ons p ass i onat e app e als
His inv e ct i v e and s arcasm w e re
terr i c
P e rhap s n o Engl i sh orator was ever so much
fe ar e d
B ut th at which gave m ost e ffe ct to his declam ation was
th e air of sin c e rity , Of vehement f ee l i ng , o f moral e l e vation ,
which b e lo ng e d to all th at he said His style wa s n ot
always in the purest taste
Se veral co nt e m p orary j udg e s
pronou nc e d it t o o orid W alpole , i n th e midst o f th e
rap turous eulogy which he pronounce s o n o ne o f Pitt s
the
m
e
taphors
w
e
r
e
r e a t e st Or a t i o ns , own s that som e o f
g
t o o forced
Som e o f Pitt s quotatio ns and classical stories
are t o o trite for a clev e r school boy B ut th e se w e re nic e
ties for which t he audienc e car e d little
The enthusiasm
Of th e orator infect e d all wh o h eard him ; his ardor and his
noble b e aring put re into the m ost frigid conc e it , and
gave dignity to th e m ost puerile allusion
T B M ACA U L A Y
-

'

T HE

RHO D ORA

In May , when se a winds pierce d o ur solitud e s ,

I foun d th e fr e sh R hodora in th e w oods ,
Sp read i ng its le a e ss blooms in a damp nook ,
To pl e ase th e d e s e rt and th e sluggish brook
Th e purpl e p e tals , fall e n in the p ool ,
Made th e black wat e r with th e ir b e auty gay ;
Her e might th e r e d bird come his plume s to cool ,
And court th e ower th at ch e apens his array
R hodora ! if th e sa ge s ask the e why
This ch arm is wa sted 011 the e arth an d sky ,
-

U se d b y sp e c i a l arrang e m e nt wi th a nd p e rm i ssi o no f Messrs Houg h to n Mll ln

t he a uth ori z
e d p ub li sh e r s o r th e works o f R al p h W a l d o Em e rso n
.

I NT ER P R ET IV E R EA D IN G

12

Tell th em , dear , th at if eye s w e re made for seeing ,

Then B eauty i s its o w n excuse f o r being :
Wh y thou wert there , 0 rival o f the rose !
I never thought to ask , I n ever kn e w :
But , in my Simple ignorance suppose
T h e sel f same P o wer th at brought me there br o ug h t y o u
R A L PH W A LD O EM E R S ON
-

T HE FALL O F

ANT W ERP *

Meantime , the Sp anish cavalry had cleft its way through

t h e city
O n the side farthe st r e mov e d from the castl e ,
alon g th e Hors e mark e t , opposit e th e New town , the stat e s
dragoons an d the li g ht hors e o f B everen had b e en posted ,
an d th e ying m asses o f pursu e rs an d pursued swept at last
through this outer circle
C hampagny was already there
He e ssayed , as hi s last h Op e , to rally th e cavalry for a
nal st and , but th e e ffort was fruitless Already s e ize d by
the p anic , they had att e mpte d to ru sh from the city through
the gat e of Ee ke r
It w as locked ; they then turn e d an d
e d towards the R ed gate , where th e y w e re m e t face t o face
by D o n Pedro T a ssi s, wh o charg e d upon them with his
dragoons
R etreat seem e d hopel e ss A horsem an in com
p l e t e armor , with lance in rest was seen to leap from the
p arapet o f the outer w all into the moat below , whence , still
F e w w e r e so fortu nate
o n h orseback , he e scape d with lif e
The confused m ob o f fugitive s an d conquerors , Sp aniards
W alloons , G e rm ans burghers strugglin g Shouting , strik
i ng , curs i n g dying , swayed hith e r and thi th e r like a stormy
Alo ng th e spaciou s Hors e market the fugitiv e s e d
se a
onw ard toward the quays
M a ny f e ll beneath the swords
o f the Sp a niards , n umbers were trodden to death by the
.

Rise o f th e Dutc h
m iss i o n or Ha rp e r 3: Broth e rs
Fro m

T he

Re pub l lc . b y Jo h n

Lo thro p

Mo tl e y

B y pe r

SEQ U EN C E

O F TH O U GHT

13

hoofs of horses , still g re ater multi tu des were h u nte d into

the Scheld C hampagny , wh o had thought it p ossibl e ,
e ven at th e last m om e nt , to make a stand in the N e w tow n
and to fortify th e Palac e Of th e Ha u sa , sa w him self de
se r t e d
W ith gr e at dar i ng and pr e s e nce Of mind , h e e ff e ct e d
his e scape to th e e e t of the Princ e Of O ra ng e in th e riv e r
Th e marquis Of Havr e O f wh om no d ee ds Of valor o n that
ev e ntful day hav e b e en recorded was equally successful
The unlucky O berstein , att e mpting to leap into a boat ,
miss e d his f o o t ing ,; a nd oppr e sse d by the w e ight Of his
armor , was drow ne d
M e a ntif ne , whi l e th e short Novemb e r day was fast d e
c l i ning , th e combat still rag e d in the i nterior o f th e city
Variou s curr e nts o f conict , forcing th e ir separate way
through many str ee ts , had at last mingl e d in the Gr a nd e
Aroun d this irr e gular , not very Spacious squar e ,
P l a ce
stood the gorgeous Hotel de V ill e , an d t h e tall , many storied,
fantastically gabled , richly decorat e d p alace s o f th e guilds
Here a long struggl e took place
It was terminate d for a
time by the cavalry o f Vargas , who , arrivin g through the
streets of Saint J o r i S, accomp anied by the traitor Va nEnd e ,
charged decis ively into the m el ee
The masses were broken ,
but multitudes o f arme d men foun d refuge in the buildings ,
and every house bec am e a fortress
From every w i ndow
and balcony a h o t re was p oure d into the square , as , pent
in a corn e r , the burghers stood at last , at bay It was
difcult to carry the house s by storm , but they were soon
set on re
A large number Of sutl e rs an d other varlets had
accompanied the Spaniards from the citadel , bringing torches
and k i ndlin g materials for the e xpress purp ose O f rin g th e
town W ith great dexterity , th e se means were now appli e d ,
and in a bri e f interval th e C ity hall an d other edices o n
the square were in ame s The c o n a gr a t i o n spr e ad with
rapidity, house after house , street after stre e t , taking r e
.

INT ER P R ETIV E R EA D ING

14

N e arly a thousan d buildings , in the most splendid and

w e althy quarter of th e c i ty , w e re s oon in a blaze , and mult i
tud e s of human b e i ngs w e re burn e d with them In the C i t v
hall many w e r e co nsum e d , whil e oth e rs l e ap e d from th e
w i ndows to ren e w the combat below The many tortuou s
stre e ts which led down a sl i ght d e sc e nt from the r e ar o f
th e T own house to th e quays w e re all o ne vast c o n a gr a t i o n
O n the other side , th e m agnicent cathedral , s e parated from
the Gr a nd e P la ce by a single r o w o f buildi ngs , w a s light e d
up , but no t attacke d , by the ame s
Th e tall spir e cast its
gigantic sh adow across the last des p e rate con i ct
In t he
str ee t calle d the C a na l a n Su cr e , imm e diat e ly behin d the
T own house , th e r e was a e rc e stru g gl e , a horrible massacre
A C row d O f bu rgh e rs , grav e m agistrat e s an d such o f the
G erman soldiers as r e mai ne d al i v e sti l l confronte d the
ferocious Spaniards
Th e r e , am i d th e ami ng d e solation ,
Go sw yn Ve r r e y c k, the heroic m argrave of the city , fought
with the en e rgy o f hatred an d des p air T h e burgomaster ,
Va n der M ee r e , lay dead at his f ee t ; s e n ators , soldi e rs ,
citizens , f e ll fast around h im , a nd he sank at last u p on a
he ap o f slain
The
W ith him effe ctual r e s i stance end e d
rem aining combatants were butcher e d , or were slowly forc e d
downw ard to p erish in th e Scheld W om e n , childr e n , old
men , wer e kille d in countl e s s numbers , and still , through
all this h avoc , dir e ctly ov e r the h e ads Of th e stru ggling
thro ng , suspend e d in mid air abov e th e d i n a nd smoke o f
the conict , th e re sounded, e very half quarter o f e very h our ,
as if in gentl e mockery , from the b e lfry o f t he cathedral ,
the ten der an d melodiou s chimes
J O H N L O TH R O P M O T LE Y
.

D I V I S IO N
C H A PT ER
C l e a r ne s s

of

III

E nu nc i a t i o n

The exerci se s f o r e nunciation ar e arrange d in th e follow

ing group s :
Group I The e l ei ne nt a r y sounds
Stud y t h e e l e mentary s ounds to train t h e e ar to r e cogniz e
s h ade s o f soun d , and t o train th e organ s of articulation to
accuracy of position
D rill in molding sou nds , a nd in pronunciation
Group II Enunciation o f initial an d nal consonant
s o unds
Group III Sp acing of words
Group I V Enunciation o f n al w o rds in sentence s
.

G R O UP
T h e E l em

e ntar y

S ou nd s

The eleme ntary sounds o f a languag e are divide d int o

vowel sounds a nd conson ant s ounds
Th e vo w e l s ou nd s ar e unobstructe d tone s of the vocal
cords , mold e d into d i sti nct i ve ch aract e r by the Shape o f th e
cavity o r tub e in which th e y resoun d The vow e l cavity
o r tube sometimes con sists o f the mouth and oro pharynx ,
sometimes o f th e mouth alone
For all th e vow e l sou nds
except a (ah ) , the soft p alat e push e s back i nto th e pharynx ,
an d clos e s th e opening into the u p per p h arynx
By th e actio n o f the ton gu e a nd soft palat e , the size and
shap e o f the vowel tube varies This a ff e cts the siz e and
Shape o f the p o sterior ori ce o f th e mouth cavity , and in
.

IN T ER P RET IVE R EA D IN G

16

t urn a e c t s the

characte r o f th e tone resounded The lip s

ar e als o i n st r u mental in giv i ng to e ach vowel sound its i n
It is th e r e for e important that th e lip s
di vidual ch a r a cter
be train e d to accuracy o f p osition
Th e c o ns ona nt s ou nd s ar e th e ton e s o f th e vocal cords , o r
e lse mer e emission s o f br e ath , mold e d into distinctiv e char
act e r by obstructions by th e organs o f articulatio n T he
con sonant sounds th at h ave vocalization a r e sometimes

called subtonics , and s ometimes sub vo c a l s

The c o n
sonant soun ds that are mere bre athin gs are s o metime s called

atonics a nd someti me s aspirates

A diphthong is the coalition o r u ni o n o f tw o v o wel

s oun ds pr o no u nced in one syll a ble

.

D I AC RI T I CA L

M AR K S

marks a r e the c h ar acters u sed

vari o us so unds o f v o wel s a nd c o ns o nants

D iacritical
th e

designa te

to

Vo wel mar ks

C o ns o n ant

macr o n
breve
di aeresis
se m

m a rks

bar
cedilla
se m

i d i ae r e si s

i d i ae r e si s

suspended
brace
tilde

t i lde
caret
dotte d bar

b ar

T H E EL EME NT A RY S O U N D S

Vow e l Sou nds

a

as

i n M ay

as

in m at

as

in

ask

as i n arm
a as in all
a a s in wh at

as
a as
a as
e as
e as
a as

6
O

i n c ar e

in senate
in many
in b e

i n m et
in th ere

e
I

C L EA R N ES S O F EN UN C IATI O N
C

as

i n f r n z

'

e as

i n they z a
i n e v e nt

in i sl e

e as

as

I
'

'

as

O as I n w Or m
6 6 as in l oop
66 as in l Oo k
bey
0 as I n O
11 as i n m ut e
ii as in m ul l
u as in rud e
u as i n ful l
u as i n fi nit e

in w i n z

in i dea

O a s i n note

as

o as

i n G Od z

O as

i n d o : OO

o a s 1n so n

i n wo l f z

O a s in f dr

l
l

ob

<
z66

i n rn

in
in
in
in

my
m yt h
m yrrh
h yena

ou or

o w as

i n ou t

as

y as
y as
as
y as

= u

)
1

y
as in machi ne

as

17

'

l
l

D ip hthongs
Oi

or

oy

as in O il , toy

o wl

C o ns o na nt S o unds

in bin
s as in re ceive
k as in c o me
0
2 a s in s uf e
c
hi m ney
t sh a s in C
ch
s h as in Ch amois
c h ronic
k
as
in
!
d as in do
v as in of
f as in f o r
j as in ge m
g
m 80
as
g
i
z
h
as
n
mirage
i
L
f as in laugh
gh
h as in have
dz
h as in j oy
j
as

k as in kick
1 a s in loop
m a s in m o o n

as

i n no

in b ank
ny as in c a on
p as in pray
f a s in ph o nic
ph
k as in pique
1
(1 0
)
kw as in q u ill
n

ng

as

trille d r as in st r o n g
glid e r as in fern
z as in ri ! e
s as in sin g

as

i n te

IN T ER P R ETIV E R EAD ING

18

rt h (a s p i r a t e )

ks as in a x e
as in thin
x
g zas in e xist
th
th (v o calize d )
2 as in X er x es
as in th is
y as in y o u
V as in voice
2 as in z one
w as in way
z
h as in azure
wh (h w) as i n w h en
C O GNA T E S
C o gn ates

are pairs o f con sona nt s o unds , on e subvocal and

o ne aspirat e , mad e with th e organs o f articulation in t h e
s a me p o siti o n f or both
.

T a bl e

Sub v o c a l s

C ogna tes

Sub vo cals

Aspirates

b
d
V
'

l
z

t
f
k

Asp i r ate s

th

z
h

sh

M o ld i ng E lem ents

Mold with the

1

l ip s

th e words in the following sentences :

Merry maidens m ake mirth

W ill to work and will to win
O ver the ocean Old
Arm , patriots , arm
.

Mold wit h the t ongu e th e sounds in t h e foll o wing syllable s

1

15

166 IS

2 t 6 ta ta t
.

3 d o d a d oo d e
.

I f) 1 a r e. r e

C LEA R N ESS O F EN UN C I ATI O N

GR O U P

II

Enu nc i a t e w i t h V i g or t h e I ni t i a l
S ou nd s

Of

t h e F o l l o w i ng

nd F i na l C o ns o na nt

W or d s

R est roast rill rinse ,

Stir run fur bur n
Stov e , Si ll , soft last ,
T ool tur n test , w e pt
This , that thos e th e n ,
Thin th i nk myth ,
Vain vault , varnish vogue
W aist , was , worth word
W h en w hite what , whine
Xe n ophon Xerx e s ,
Exist e xert e x alt ,
Youth , youn g , yarrow , Yule ,
! one , zebra , zeal , z o unds

Brin g,

brag , brogue, boy ,

C all , clin g C hrist e n , cast ,
Fling , frost , f e lt frozen ,
G overn , gi v e , ga g gi ng ,
Hall , ha , happy , haste ,
Jok e , j ail , j oist , ju st ,
K i ng , kais e r , k ale , cake ,
L o ng , l o o k , lake , mull ,
Mornin g , mamma , mist , l a me
North , su nny , n oon night ,
Sin g bring , strin g , in g ,
Pray , pull , p apa , paper ,
Q uiet , q uest , quill , quinc e ,

G RO UP
A v o i d R u nni ng

19

III

W or d s

T o g e th e r

En unciate

the words of th e following sent e n ce s distinctly

Separate word from w ord , takin g car e that th e nal con so
n a nt sound o f th e o ne word sh all n ot coalesce with the
vowel s ound o f th e follow i ng word
.

E XER C I S E S

At last , with cr e epi ng , crooked pac e forth cam e

An o l d , Old m a n, with b e ard as whit e as s now

H e cri e d , a s ra ging s e as ar e wo nt to roar ,

2
W h e n wintry storm hi s wrathful wreck do e s threat
I must go s e ek som e dewdro p s h e r e ,
3

An d hang a pearl i n e v e ry cowsl i p s e ar

C ome , now a roun d e l a nd a fa i ry so ng

4
1

INT ER P R ETIV E REA D IN G

20

That y ou have wronged me doth app e ar in this

O h that this too , too solid esh would melt !
Sw ee t are th e us e s o f adversity ,
W hich like the toad , u gly and venom ou s ,

W e ars yet a pr e cious j ewel in his he ad

Hast thou a ch arm to stay the m o rning star in h is

st ee p course ?

D ust as we are , the immortal Spirit grows like har

mony in music

Fair seed time h ad my s oul , and I grew up

Fostered alike by beauty an d by fear

Now o e r the one half world n ature seems dead , a nd

wicke d dr e ams abu se the curtaine d sleep

N o w Morn , her rosy steps in the eastern clime

Advan cing , s owe d the earth wit h o rient pear l

.

10
.

11

12

G R O UP I V
E nu nc i at e C l e ar l y th e F i na l

Practice reading

or d

i n E a ch S e nt e nc e

Hamlet s Advice to the Players

S E L E C T I ON S

HAMLET S AD VIC E

T O T HE PLAY ERS

the speech , I pray you , as I pronounced it to y o u ,

tripp i ngly on the tongue ; but if you mouth it , as many
of your players do , I had as lief the town crier spoke my
lines
N or do not sa w th e air t o o much with your hand ,
thus ; but u se all g e ntly ; for in the very torrent , t e mpest ,
and , as I may say, whirlwin d of your passion , you must
acquir e and beg e t a tem p erance th at may give it smoot h
n e ss Oh , it offe nds m e to the s oul t o hear a robustio u s
periwig pat e d f e llow t e ar a passion to tatt e rs , to very rags ,
t o Split th e e ars o f th e groundlings , who f o r th e most
part , are capable o f nothing but inexplicable dumb sh o ws
Spe ak

C LE A R N ESS

O F EN UNC I A TI O N

21

n oise ; I would hav e such a fe llow whipped for o e r

doing T e rmagant ; it o ut h e rods H e rod ; pray you avoid
it
B e not too tame neither , but let your o wn discr e tion be
your tut o r ; suit the action to th e word , th e word to th e
action ; with this special obs e rvance : that y o u o e r st e p not
the modesty o f nature ; f o r anything so overdone is from
the purpose of playing , whose end , both at the rst and
now , was an d is, t o hold as twere , th e mirror up to n a
ture ; to show vir t ue h e r o w n f e atur e , scorn h e r o w n im ag e
and t he v e ry age an d body o f the time his form and pr e ss
ure
Now this overdon e , o r come tardy Off though it
make the unskilful lau gh , cannot but mak e th e j ud i cious
grieve ; t h e c e nsure o f the which o ne must in your allowance
Oh , th e r e be play
o e r w e i gh a whole th e ater o f oth e rs
e r s that I have seen play , and h e a rd oth e rs prais e , and
that highly , not to sp e ak it profan e ly , that neith e r hav i ng
the accent o f C hristians no r the gait of C hristian, pagan ,
nor man , hav e so strutt e d and bellow e d , that I h av e thought
some o f nature s j our ne ym e n had m ad e them and not
made them we ll , th ey imitated h um anity so abominably
S HA K E S P E AR E
a nd

D I V I S I ON

IV

C HA PT E R

Fo r m

of

Em p h a si s

Emphasis

is the prominenc e given to a w o rd or gro u p o f

words in order to mak e the m e aning clear
The forms o f emphasis ar e m e l o d y, i n ecti o n, s li d e , vo l
u m e , fo r c e , and p a u s e
Any o f th e s e form s may b e c o m
b i ne d and r e enf orce d by g e stur e
.

M EL O D Y
The emphasis o f m el od y is the w avelike chang e o f the
pitch o f the speaking voice due to the mental recognition
o f th e relativ e importance o f the words in s e ntence s
.

Lo c h in
y ou ng

b
9

O,

come o ut

of

the

i n

best ;
the
all
Thro u gh

wide
t he

And save hi s g oo d

He rode all

un

steed
no,

he we a p ons h a d

and he rode
22

al l

31

be

O0
90

F O R M S O F EM P H A SI S

23

So

i n war ,

in

There
like the young Lochin

was

I,

N otice the mel ody of t h e followin g lines as

them aloud

/
read

you

He stayed no t for brake , and he stopped not for stone ,

H e swam the Eske river where for d th e re was none ;
But , ere he alighted at N etherby gat e ,
The bride had consent e d , the gallant came lat e ;
For a laggard in love , and a dastard in war ,
W a s t o wed the fair Ellen o f brav e Lochinvar
SI R W A L T E R SC O TT
.

I N F LEC T I ON
The emphasis

of

inection is a mere bending o f the

from the main pitch up

down , thu s :

or

Shall

voi e

you

I
The rising inection is als o u se d in asking a direct ques
tion and i n th e e xpr e ssion o f j oyousness and lif e
The fallin g ine ction is als o used to expre ss will , gravity ,
the compl e tion o f a thought , an d to ask a n indirect qu e s
tio n
Sometim e s the risi ng a nd fallin g i n e ctions ar e con
t r a st e d , to express a ntith e sis
Sometimes th e tw o ar e com
b ine d , givin g a doubl e bend to the voic e , when th e y are
,

INT ER P R ETI V E R EA D IN G

24

W h e n the voic e falls an d rises , the i h

calle d circumex
e c t i on is called the falling circumex
This e x presse s
irony W hen the voic e ris e s an d falls , th e inection i s
c a ll e d the rising circumex
This e xpresses s arcasm o r
insinuation
Falling circume x Hath a dog money ?
.

R isin g circume x : O h

dO
,

u
o
A
y

hear !

Notice the inections in th e following stan zas as y o u re ad

them alou d :
boldly h e e nt e r e d th e N e th e rby Hall ,

Amon g bride s men , and kinsm e n , and brothers , and all

Then sp ok e th e bride s fath e r , his h and o n his sword ,
e groom s aid never a word ,
For
the
p
oor
crav
e
n
brid
(
)
0 come y e in pe ace h e r e , o r come y e in war ,
O r to dance at o u r bridal , young L ord L o chinvar ?
So

I lon g wooe d your daughter , my suit you deni e d ;

L ove swells lik e the S olway but e bbs like its tide
And now am I come , with this lost love o f mine ,
To lead but o ne measur e , drin k o ne cup of wine
Ther e ar e m aid e n s i n Scotland more lovely by far ,

That would gladly be bride to th e youn g Lochinvar

SI R W A L T E R S C O TT
,

T H E SL I DE

slide i s a str o nger form of emphasi s than the i ne c

tion It is used in stron ger e m otion
The voice leav e s
the main pitch an d m o ve s through a great e r gamut o f t one
T he

on the emphatic words ; t h us

or

Wh en there is antith e sis or contrast o f t hou ght , th e

p h asis is marke d by contrasting slides
.

em

F O R M S O F EMPH A SI S
Notice the slides

i n the

25

following :

The brid e kissed the goblet : the knight to o k it up ,

He quaff e d o ff the win e , and h e thr e w down the cup
Sh e look e d down to blush , an d Sh e looke d up to sigh ,
W ith a smile on h e r lips , a nd a tear in h e r eye
He took her soft hand , ere her mother could bar ,
N o w tread we a me asure ! s aid young Lochinvar
.

stately h is form , an d so lov e ly her face ,

That n ever a hall such a galliard did grac e ;
W hile h e r m o th e r d i d fret an d her fath e r did fume ,
And the bridegroom stood dangli ng his bonnet and plume

And the brid e maid e n s whisp e r e d ,

Tw e r e b e tter by far

T o have matche d ou r fair cousin with young Lochinvar

SI R W A L T E R S C O TT
SO

'

I h ad rather b e a d o g an d bay the moon ,

Than such a R om an !
SH A K E S P E AR E
V O L U ME

T h e emp h asis of volume i s largenes s o r ful l ness o f t o ne

adde d to the forms o f emphasis already notic e d
It is
nev e r u sed alone
It e xpres ses magnitud e , vastnes s , deep
and nobl e e motion
Hold th e thought o f the followin g in min d until the
volume o f voice com e s naturally , no t mechanically
.

Around thee and above

D eep is the air and dark , substantial , black ,
An e bon mass : m e thinks thou p i e r c e st it
A s with a we d g e ! But wh e n I look again ,
It is th i n e o w n calm home , thy crystal shrine ,
Thy h abitation from eternity !
S T C O LE R I D G E
.

INT ER P R ETIV E R EA D ING

26

R oll o n, th ou deep and dark blu e O cean roll !

Ten thousand eets swe e p over thee in vain ;
M a n mark s the earth with ruin his control
upon the watery plain
Stops with the Shore
The wrecks ar e all thy d ee d, n or doth remain
A shadow of man s ravage , s ave his own ,
W hen , for a mom e nt , like a drop o f rain ,
He si nks into thy d e pth s with bubbling gr o an,
W ithout a grave , unknelled , unc ofne d , and unknown
L O R D B Y RON
-

F ORCE

T h e emphasis of force i s great e r stres s o f voice o n w ords

The emphasis of volum e h as breadth and
o r syllables
v astness ; th e e mphasis o f force s tr eng th , w i ll , d i r ec tness
It gives strength and decision to sp ee ch
St udy the th ought o f the followin g selection until you
f e el its re and its force
Re ad it aloud repeatedly , e n
d e a v o r i ng each time to speak t o your audience , directly ,
e arnestly , an d with determination in your voice :
.

O nce mor e unto th e breach , dear friends , once mor e ,

O r clos e the wall up with our English d e ad !
In p e ac e ther e s nothing s o b e comes a man
As m od e st stilln e ss an d humility ;
But when th e blast o f war blows i n our e ars ,
The n imitat e th e action o f th e ti g e r :
Stiffe n the sinews , summon up the blo o d ,
D isguise fair nature with h ard favor d r age ;

Hold hard the breath , an d bind up e very spirit

On , o n, y ou noble Englis h :
T o his full height
.

se e

yo u

stan d li ke gr e yh ounds in the slips ,

F O R M S O F EMP H A SI S
Straining

27

u pon the start The game s af o ot :

Follow your Spirit , and upon this ch arge
C ry
Go d for Harry , England and Sa int George !
SH A K E S P E A R E

Shyl o c k ! Asi d e!

How lik e a fawning publican h e l o oks !

I hat e hi m for he is a C h ristian ;
But more f o r th a t in low s i m plicity
H e l e nds o u t money g ratis and brings down
Th e rate Of usance he r e with u s in Venic e
If I can catch him onc e upon t h e hip ,
I will fee d fat th e anci e nt g rudg e I b e ar hi m
H e hat e s o u r sacr e d n at i on ; and he rails
Ev e n th e re where merchants most do congr e gate ,
O n m e m y bargains , an d my w e ll w on thrift ,
W hich h e calls interest
C urs ed be my tr i be ,
I f I forgive h im !
SH A K E S P E AR E
.

'

T HE

P AU S E

The emphasis of p ause is that linger i n g of t h e v o ice o n

an i mportant word o r words , o r that p ause before or aft e r
an i m p ortant word , which is du e to d ee p f ee ling M e r e
mechanical paus e s are the marks O f the un skil l e d workman ;
p auses p acke d with thought an d feeling a r e th e marks o f
the artist
As you read the following s e lection , thi nk of the poet
improvisin g at th e organ , an d i magine th e music R ead
slowly Think ahead , and feel the beauty o f the th o ught
before y o u u tter it
.

e m p hasi s
B Aldri ch
Fo r

of

p au se ,

read

The

Ballad

of

Baby B elle

by

28

INT ER P R ETI V E R EA D IN G
T HE

LO ST C HORD

one day at the O rgan ,

I was we ary and ill at e ase ,
And my ngers wandered idly
O ver the noisy keys ;
Seate d

I kn o w n o t wh at I was playing ,
O r what I w as dre aming then ;
B ut I struck o ne chord of music ,
L i ke the sound o f a gre at Amen

It o oded the crimson twilight

L i ke th e close o f an Ang e l s Psal m ,
An d it lay o n my fevered spirit ,
With a touch o f innite calm

It quiete d p ain an d s orr o w ,

Like l o ve overcomin g strife ;
It seeme d the harm onious ec ho
From o ur discordant life
.

It linked all perplexed meaning s

Into o ne perfect pe ace ,
An d tremble d away into silenc e
A s if it were lot h to cease
.

I h ave sought, but I seek it vainly,

That o ne lo st chord divine ,
T h at cam e from the soul of t h e O rg a n ,
And entere d into mine
.

It may b e th at D eath s bright ange l

W ill spe ak in th at chord again ,
I t may b e th at only in Heaven
I s h all he ar th at grand Amen
A D EL A I DE P R O C T ER

D I V I S I ON

IN T ERPRETIVE READ ING

II

T HAT

APPEALS

TO

T HE

EM OT I O N S

The steps in D iy i si o n I d e al with the study o f th e

thought and the mechanics o f deliv e ry that w i ll make th e
thought cl e ar to the und e rstan ding o f th e list e n e r
The step s in D ivision II ap p e al n ot only to the under
standing , but to th e em o ti ons of the listener
The ste ps in D ivision II are as follow s :
I W ord picture s
II A tmosphere
III Tone color
Movement
IV R hyt hm
V Personation
.

'

C HA PT E R

or d

Pi c t u r e s

F i rst , concentrate the mind o n the literature studie d in

order to se e th e word pictures vividly G ive th e imagina
tion full play , b e cause you cannot m ake others se e vivi dl y
what you do n ot yours e lf se e
By e xpres sion o f voice and fac e an d body , try to inter
pret to others the pic t u re that y o u se e
In locat i ng the parts o f a pictur e , place them a little to
the right or l e ft rather th an dir e ctly front A p ply the
laws of perspective in the com p osition o f ge s t u re pictures
.

29

INT ER P RETI VE R EA D ING

30

In locating a distant obj ect that would b e about on a level

with th e e y e , do not raise the arm above th e l e vel of th e
ey e , a s that would m ake th e distant obj e ct seem colossal
W hen O bj e cts o f a picture ar e n e ar by , do not lower the
arm too much , as that would make th e obj e cts seem d i m i nu
tive
K eep the p arts of a pictur e cl e arly dened
If the
arm takes the same position t o d e signat e diffe re nt parts o f
a pictur e , it produc e s confusion
All the parts o f the
pictur e will seem to be in a p il e
.

S E L E C T I ON S

T HE FAU N O F

The Faun is the marbl e im age o f a young man , leanin g

his right arm o n the trunk or stump o f a tre e ; o ne hand
h angs carele ssly by his side ; in th e other he h olds the
fragment o f a pip e , o r some such sylvan instrum e nt o f
m u src
Hi s only garm e nt a lion s skin , with th e claws
upon his sh ould e r falls half way down his back , leaving
th e lim bs and entire front of th e gur e nud e The form ,
thus displayed , is marvellously graceful but h as a fuller
an d more rou nd e d outl i n e , mor e esh , and l e s s o f heroic
muscle , th an th e old sculptors were wo nt to assign to their
types of masculin e b e auty The charact e r o f the face cor
resp onds with the gur e ; i t is most agr ee able in outline
and feature , but round e d and som e what voluptuously de
v e l o e d , e specially about th e throat and chin ; the nose is
p
almost straight, but v e ry slightly curv e s inward , thereby
acquiring an ind e scribabl e ch arm o f geniality and hum or
The mouth , with its full yet d e licat e li p s , seem s so nearly
to smile outright , that it calls forth a resp onsive smil e

From

mission o f

b y Na thaniel Haw thorne By

Co
p u b l i she rs M e ssrs Hou gh t o n M i thi n

T h e Marb l e Fau n

t he

p er

W OR D PI C TUR ES

31

The whole statue unlike anyt hing els e that e v e r was

wrought in that s e ver e mat e r i al of marble conv e ys the
idea of an amiable and s e nsual creatur e e asy , mirthful ,
apt f o r j ollity , yet no t incapabl e of b e i ng touch e d by pathos
It is impossible to gaze long at this sto ne imag e with
out co nceiving a kin dl y s e ntime nt towards it as if its sub
stance were warm to th e touch , an d i mbue d with actual
life
It com e s very clos e to s ome o f o ur pleas ant e st sym
pathics
P e rhap s it is in the very lack o f moral s e v e rity o f any
high and h e roic i n gr e dient in th e ch aracter o f th e Faun ,
that mak e s it SO d e lightful an O bj ect t o the human e y e and
to the frailty o f the hum a n he art Th e b e i ng here r e p r e
sente d is endowe d with no p r m CIp l e o f virtue , an d would
be in capable o f compr e h e n d in g such ; but he would be true
an d honest by dint Of his s i mplicity W e should expect
from hi m n o s acrice o r effort f o r an abstract cause ; ther e
is not an atom o f m artyr s stuff in all th at soften e d m arble ;
but h e has a cap acity f o r strong a nd warm attachm e nt , and
might act devote dly through its impuls e , an d e ven die for
it at nee d
It i s po ssibl e , t o o , that the Faun might be
educated through th e m e dium of h i s emotions , so that
the coarser an i mal portion o f his n atur e m i ght e v e nt
ua lly be thrown i nto th e backgrou nd th ou g h n e v e r utterly
e xpelle d
The anim al nature , ind ee d , is a most e ss e nt i al part o f the
Faun s comp osition ; for the charact e r i st i cs o f the brute
creation meet an d comb i ne with those of humanity in this
stran g e yet tru e and natural conc e p tion of antiqu e p o e try
Praxit e l e s has subtly diffus e d throu ghout his work
a nd art
that mute myst e ry which so h op e l e ssly perpl e x e s us wh e n
e ve r we att e mpt to gain a n i nt e l l e ctual o r sympath e tic
knowledg e o f the low e r or d e rs o f creation
Th e r i ddle i s
in d icate d , h o w e ver , only by two denit e signs ; the se ar e

32

INTER P R ETI V E R EA D IN G

the two e ars of the F aun , whic h a r e leaf shaped , t e rm ina t

i ng in littl e peaks , like those o f som e sp e ci e s of an i mals
Though not so seen in the marble , they are probably to be
considered as clothe d in ne , downy fur
In the coarser
r e pr e s e ntations o f this clas s o f mythological creatur e s , th e r e
is another tok e n o f brute ki ndr e d , a c e rtain caudal a p
p e ndag e ; w hich , if the Faun o f Prax it e le s must be sup
pos e d to poss e ss it at all , is hidden by the lion s skin th at
form s h i s garment The point e d an d furry ears , therefore ,
are the sol e in dications o f his wild , forest natur e
O nly a sculptor o f the ne st i magination th e most d e li
cate taste , the sweetest feeli ng , and the rarest artis tic skill
i h a word , a sculptor and a poet t o o could hav e rst
dreame d of a Faun in this guise , and then hav e succeede d
in imprisoning the Sportive an d frisky thing in m arble
Neither man no r a n i mal , and yet n o mon ster , but a being
in whom both races meet o n friendly gro und The idea
grows coarse as we h andle it , and hardens in o ur grasp
B ut , if the spectator broods long ov e r th e stat u e , he will
be cons cious o f its spell ; all th e pl e asantness o f sylv an life ,
all the genial and happy char a cteristics o f creature s that
dwell in elds and woods , will s e e m to be mingled and
knead e d into one substance , along with the kindred qualitie s
in th e human soul
Trees , grass , owers , woodlan d str e am
lets , cat tle , d ee r , an d unsophisticated m an Th e essence
o f all these was compressed long ago , and still exists , within
th at discolor e d marble surfac e o f t he Faun o f Praxiteles
And , after all , the idea may h ave been n o dream , but

r ather a p oet s reminiscence o f a peri o d when man s aff i nity

with nature was more strict , and his fellowship with every
l iving th i n g m o re int i mate and dear
N A T H AN I EL H AW T H O R N E
-

W O R D PI CT U RES

MOONLI G HT O N T HE

M Y S T E RI O U S

T HE

As I was r amblin g

33

AL HAMB RA "

C H A MBERS

o ne

day about th e Moorish halls , my

a tt ention w a s , for the rst tim e , attracted to a door in a
r emot e gall e ry , communicating apparently with some part
O f the Alhambr a which I h ad not y e t explored
I attempte d
to open it, but it was locked
I knocked , but n o o ne a h
sw e r e d , and the sou nd seeme d to reverberate through the
'
empty chambers
H e re th e n was a mystery Here was
the h aun t ed wing o f the castle
How was I to get at the
dark secrets here shut up from the public eye ? Should I
come privately at night with lamp and sword , according to
th e prying custom o f heroes o f romance ; o r should I e n
de a v o r to d r aw the s e cret from P e p e the stutt e ring gar
d e ne r ; o r the ingenuous D olore s , or the loquaci o us Mateo ?
O r should I g o frankly a nd O penly to D am e Antonia the
C hatelaine , an d ask he r all about it ? I chose the latte r
c o urse , as being the simplest though the least rom antic ;
a nd f o und , s o mewh at to my disappointment , th at there was
n o mystery in the case
I w as welcome to e x pl o re the
apa rtment , and t h ere w as the key
.

W hen I r eturne d to my q uarters , in the govern o r s apart

ment , e very th i ng seemed tame and comm o n place aft e r the
poetic regi o n I had left The thought sugge st e d itself :
Wh y could I n o t change my qu arters to these vacant cham
bers ? that would in deed be livin g in the Alh am bra, sur
r o unde d by its gardens an d fountain s , as in the time o f the
Moorish sovereigns I proposed the c h ange to D ame Ah
tonia a nd her f am ily , an d it occasi o ne d vast s u rprise
They

from Pu tnam s late st e d it ion o f

was re vi se d b y Mr Irving in 1851
*

C o p i ed

The Alhamb ra

as

it

INT ER P R ETI VE R EA D IN G

34

could no t conc e ive a ny rational in duc e me nt for the choice

O f a n apartm e nt so forlorn , r e mot e a nd s olitary
I
was not to b e diverted from my humor , how e ver , and my
will was law with th e s e good p e opl e
SO, calling in the
assista nc e o f a carpe nter , an d th e e ver Of c i o us Mat e o
K emen e s , th e doors a nd windows w e r e s oon plac e d i n a
state o f tolerabl e s e curity , a nd th e sle e ping room
pre
pare d for m y r e c e ption
Mateo kindly volu nte e r e d as a
body guard to sl ee p in my ant e chamb e r ; but I did n ot
think it worth whil e to put his valor to th e proof
W ith all th e hard i hood I had assume d a nd all the pre
cautions I had taken I must confess the rst night p assed
in th e se q uarters w as inexpressibly dre ary
I d o no t think
it w as so much the appr e h e nsion o f dangers from with out
that affect e d me , as the character o f the place its e lf, wit h
all its strang e associations : the d e eds o f violence committed
there ; the tragical e n ds o f many o f those wh o h ad once
r e igne d th e r e in spl e n dor
The wh ole fam i l y e scorted m e to my chamber , and took
l e ave o f m e as o f o ne e ngag e d o n a p e r il o us e nterprise ; an d
when I heard their r e treating step s di e away along the
wast e ant e ch ambers an d ech oin g galleries ; an d turne d the
k e y o f my door , I was remin d e d o f th ose h obgoblin stories ,
wh e re th e hero is lef t to accomplish t h e adventure of an
e nchante d h ous e
.

In the course Of a f e w ev e nings a thorough change t o ok

plac e in the scene and its associations
The moon , which
wh e n I took possession o f my new apartments was invisi
bl e , gradually gained each evening u p on the darknes s Of
the night , and at l e ng th rol l e d in fu l l spl e ndor above the
t o wers , p ourin g a ood o f t e m p ere d light into every court
Th e garden bene ath my window , before wrapped
a nd h all
in gl o om , was gently lighte d up , th e or a n ge an d citr o n trees
.

W ORD PI CT U R ES

35

were tippe d with Silver ; th e fountai n sparkle d in th e m o on

beams , an d ev e n th e blush o f th e ro s e was fa i ntly visible
I no w f e lt the po e tic m e rit o f t he Arabic i nscri p tion o n
the walls : Ho w beauteous is th i s g ard e n ; where th e o w
e r s o f the earth vi e with th e s tars o f h e av e n
W h at c an
comp ar e with th e vas e o f y o u alabast e r fountai n ll e d with
crystal w at e r ? nothing but the moon i n h e r ful ne s s , Shining
in t h e midst o f a n uncloud e d sky !
O n such he av e nly nights I would si t for hours at my
win dow inh aling t his swe e t ne ss o f th e gard e n a nd mus i ng
o n the ch e cker e d fortune s o f thos e whos e h i story was d i m l y
Som e
shadow ed o u t i n the e l e gant memorials aro und
tim e s , when all was q uiet , and the clock from th e distant
cath e dral o f Granada struck the midnight hour I ha ve
s alli e d o u t o n anoth e r tour an d wand e r e d over th e wh ole
buildi ng ; but h o w diff e r e nt from my rst tour !
W h o can do j ustice to a moonlight night in such a climat e
and such a plac e ? Th e t e mperature o f a summer midnight
in Andalusia is p e rfectly ethereal
W e s e em lift e d up into
a purer atmos p h e r e ; we f ee l a s e r e nity o f soul , a bu oyancy
o f spirits , an elasticity o f fram e wh i ch render mere exist
enc e hap p iness
Bu t wh e n m oon l ight i s adde d t o all this ,
th e effe ct is like e nch antm e nt Under its plastic sw ay the
Alhambra s e em s to re gain its pristine glorie s Ev e ry r e nt
a nd chasm o f time ; e very moulderin g tint an d w e ather stain
is g on e ; the marbl e re sum e s its original whit e nes s ; th e long
colonnad e s bri ght e n in th e moo nb e ams ; the halls ar e illu
m i na t e d with a soften e d radianc e , we tread th e e nchanted
palac e Of an Arabian tal e !
What a d e light , at such a tim e , to asc e n d to the l i ttle
airy p avilion of th e qu ee n s toilet ,
which , like a bird
C age , ov e rhangs th e vall e y o f th e D arro , and gaze from its
light arcad e s u p on th e moonlight p ros p e ct ! T o th e right ,
the swellin g m o un tain s o f the Si e rra Nevada, r o bbe d of
.

INT ER P RET IV E R EA D IN G

36

t h eir r uggednes s and s oftened int o a fairy l a nd , wit h their

snowy summits gl e amin g like sil ver clouds agai nst th e deep
blue sky And th e n t o lean over th e parap e t of th e Tocador
and gaz e down up on Granada an d th e Al b a y c i n Spr e ad o u t
like a m a p b e low ; all buried in de e p r e pos e ; th e wh it e
palac e s a nd co nv e nts sle e pin g i n th e moo nshi ne , a nd b e y o nd
all the s e th e vapory Vega fadi ng away lik e a dream land i n
the distanc e
Sometim e s the faint click o f castan e ts ris e s from the
Alameda , where some gay Andalusian s ar e dancin g away
the summer night
Som e times the dubious ton e s o f a
guitar and the notes o f an amorous voic e , t e ll perch anc e the
wher e about Of some moon struck lover serenadin g hi s l ady s
win do w
Such i s a faint picture o f the moonli ght nights I h ave
p assed loitering ab out t he courts and halls and balconi e s of

this most su gg e stive pile ; feeding my fancy with sugared

supposition s , and enj oying that mix ture of reverie an d

sensation which ste al a w ay e xistence in a southern clim ate ;
so that it has b e en almost morning before I h ave retired to
be d and b e en lulle d to sleep by the falling waters of the
fo u ntai n O f L i nd a r a x a
W A S H I NG T ON I R V I N G
.

A C HRISTMAS

AT B OB C R AT C HIT S

T h e Ghost o f C hristmas Present rose

conduct me wh e re
Spirit , s aid Scrooge submissiv e l y ,
y o u will
I went forth last night on compulsio n, an d I
learnt a lesson which is workin g now T o night , if yo u

h ave aught to t e ach me , let me prot by it

Touch my robe !
Scrooge did as he was told , an d h e ld it fast
.

W O R D PI C T U RES

37

p er h aps it was t he pleasure th e good Sp i rit h ad in

S h ow ing O E this pow e r of his , or e ls e it was his o wn kind ,
gen e rous , hearty natur e , an d his sympathy with all poor
men , that l e d him straight to Scroog e s c l e rk s ; for ther e
he we nt , an d took Scrooge wi th him , holding to his rob e ;
and , o n the threshold of the door , the Spir i t smil e d , and
stopp e d to bl e s s B ob C r a t c hi t s d w e ll i n g with the sp r i n
klings o f hi s torch Think Of that ! B o b had but ft ee n

a w ee k hims e lf ; h e p ocket e d o n Saturdays but

Bo b
fteen copi e s o f h p C hristian n am e ; and y e t th e Ghost o f
C hristmas Present bl e sse d his four room e d house !
T he nup rose Mrs C ratchit , C r a t c hi t s wife , dres sed o ut
but poorly in a twic e turn e d gown , but brave in ribbons ,
which are cheap , a nd mak e a goodly show for S i x pence ; an d
sh e lai d the cloth , assist e d by B e linda C ratchit , second o f
her daughters , also brave in ribbo ns, while Mast e r P e ter
C ratchit plung e d a fork int o the s aucep an o f p otatoes , and ,
getting the corners o f hi s monstrous shirt collar (B ob s
privat e property, conferre d upon his s o n an d heir i n honor
into
his
mouth
rej
oiced
to
n
d
himself
so gal
o f t h e day
,
)
l a ntl y attir e d , and y e arn e d to show his lin e n in the fashion
abl e Parks And now two small e r C r a t c hi t s, boy and girl ,
cam e tearing in , scr e amin g that outside th e bak e r s th e y
h ad sm e lt the goos e , and known it for th e ir o w n; a nd , bask
ing in luxurious thoughts o f sag e and onion , th e se young
C r a t c h i t s danc e d about the tabl e , and exalt e d Master Peter
C ratchit to the skies , while he (not proud , although his
collars nearly choked h im ) bl e w the r e , until the Slow
potato e s , bubbl i ng up , kn ocke d lo u dly at the saucepan lid
to be let o ut an d pe e l e d

?
Wh at has eve r go t your pr e cious father , th e n
s aid

Mrs C ratchit
And your brother , Tiny Tim ! An d
M a rth a warn t as late last C hristmas day by half an hour !
AnEng l i sh Shilling

INT ER P RETIV E R EA D IN G

38

Here s Martha , moth e r ! sa id a girl , appe aring as sh e

sp ok e

Here s Martha , mother l cried the two young C r a t ch i t s

Hurrah ! Th e r e s su c h a goose , Martha !

W hy , bles s your h e art alive my d e ar , how late you

ar e ! s aid Mrs C ratchit , kissin g her a doz e n times , and

takin g o ff her shawl and bonnet for her with Oi c i o u s z e al

W e d a deal Of work to nish up last night , replied

th e girl , an d had to clear away this mornin g , moth e r !

W e ll ! n e v e r mind s o lon g as you a r e com e , s aid Mrs

C ratchit
Si t ye down befor e th e re , my d e ar , an d have

a w arm , Lord bless y e !

N 0, no ! Ther e s father comi ng , cri e d th e t wo young

Hid e , Marth a,
C r a t c hi t s, who were everywh e re at once
hide !
So Marth a hid herself , and in came l i ttle Bo b , t h e father ,
with at least three feet of comfort e r , exclusiv e o f the fringe
h anging down b e fore h i m ; and his thr e adbare clothes darn e d
up and brushe d to look s e as onable ; and Tiny Tim u p on
his shoulder Alas for Ti ny Tim , he bore a littl e crutch ,
and had his limb s supp ort e d by an iron fram e !

?
Why wher e s our Martha
cried B o b C ratc h it , look
in g roun d

Not com i ng , said M r s C ratchit

said B ob with a sudden declen sion in

N o t coming !
his high spirits ; for h e had b ee n Tim s blood h ors e all th e

way from church , an d had co m e home rampant

N ot
coming upon C hristmas day !
Marth a didn t lik e to se e h i m dis appointed , if it w e r e
only i n j ok e , s o she came o u t pr e matur e ly from behin d th e
closet door , and ran into his arms , whil e t he t w o youn g
C r a t chi t s h ustled T i ny Tim , a nd bor e h im o ff into th e
wash h o use , th at he might hear the pudding singin g in the
c oppe r

W O RD PI C TU RES

39

And

h ow did li t tle T im behave ? aske d Mr s C ratchit

when sh e had ralli e d B o b o n his credulity , and B o b had
hugg e d h i s daught e r t o his heart s content

A s goo d as gold , s aid Bo b , and b e tter

Some h ow ,
h e g e ts thoughtful , Sittin g by him se l f so much , and t h inks
the str angest things you ever h e ard He told m e , coming
home , that he hope d the people sa w him i n the C hurch , b e
cause he was a cripple , an d it might be pleas ant to th e m to
rememb e r upon C hr istmas day , wh o made l am e beggars

walk an d blind m e r; se e
B ob s voice was tremulous wh e n he told th e m this , and
t r e m b l e d m o r e when h e sai d that Tiny T i m was growing
strong and h e arty
His active little crutch was heard upon the oor , and
back c am e Tiny T i m before another word was Spok e n ,
e scort e d by his brother an d sister t o his stool beside the
re ; and while B o b , turning up his cuffs as if , poor f e l
l o w , they were capable o f b e ing made more Shabby com
pounde d some h o t mi x ture in a j ug with gin and l e mon s ,
and stirre d it roun d an d r o und , and put it o n the h o b to si m
mer , Master Peter and the two ubiquitou s young C r a t c hi t s
went to fetch the goose , with which they s o o n r e turn e d in
high procession
Such a b ust l e ensued that you might h ave thought a goose
the rarest o f all bir ds ; a f e a t he r e d ph e nomenon, to which
a black sw a n was a matter o f course and , in truth , it was
som e thin g very like it in that h ouse Mrs C ratchit mad e
th e gravy (r e ady b e foreh and in a little sauc e pan ) hiss i n g
hot ; Master Peter mash e d the p otatoe s with incr e dibl e
vigor ; Mis s Belin da sweeten e d up th e apple sauce ; Martha
duste d the h o t plate s ; B o b took T i ny Tim b e sid e him in a
t i ny corn e r at the tabl e ; the t w o youn g C r a t c hi t s set chairs
for everyb o dy , n ot forgetting thems e lves , and , mounting
s
i
u
ard
u
p
o
n
thei
r
p
o
sts
c
r
amme
d
spoons
nto
t
h
eir
m
ou
th
,
g
,
.

'

INTER P R ETI V E R EA D I NG

40

lest they s h o uld shriek f o r goose befor e their t u r n came to

be h elped At last the dishe s were set o n, and grace was
said It wa s succeeded by a breathless p ause , as M r s
C ratchit , lookin g slo w ly all alon g the carving knife , pre
pare d to plunge it in the bre ast ; but when s h e di d , and
when the long expect e d gush o f stufng issu e d forth , o ne
murmur o f deligh t arose all roun d th e board , a nd e v e n Tiny
Tim , e xcited by the two young C r a tc hi t s, beat o n th e table
with the handle o f hi s knife , an d feebly cri e d Hurrah
Th e re never was such a goos e B o b said he di d n t b e
lieve t h ere ev e r was such a goos e cooked
Its tendernes s
an d avor , si z e an d cheapness , w e re t he themes of universal
admiration Eke d o ut by appl e s auce and mash e d potatoes ,
it was a su f cient dinn e r f o r the whole f a mily ; ind e ed , as
Mrs C ratchit s aid with great d e light (sur veying one small

atom o f a bone o n t he dish ) , they h adn t a t e it all at last !

Yet every o ne h ad h ad enough, and th e youn ge st C r a t c hi t s, i n
particular, were steeped i n s age an d onion to the eyebrows !
But n ow , the plates b e ing changed by Mis s B elinda , Mrs
C ratchit left the room alone too nervous to bear witnesse s
to t a ke th e pudding up , an d bring it in
Suppose it s h ould no t be done e n ough !
Supp ose it
should break in turnin g o ut ! Suppose somebody should
h ave got over the w al l o f the back yard , an d stolen it ,
w h ile they were merry with the goose a supposition at
All s orts of
whic h the t wo y o ung C r a t c hi t s became livi d !
h orrors were supposed
Hello ! A great deal of steam ! T h e p u dding was o u t
of the copper A smell like a washing day ! Th at was the
cloth A smell like an e ating hous e , and a pastry cook s next
do o r to eac h other , with a laundr e ss , n e xt door to that ! That
was the pudding ! In hal f a minute Mrs C ratchit entered
u s h ed , but smilin g proudly wit h the pudd i ng , like a
spe c kled cannon ball , so hard a nd rm , bla z ing i n h a lf o f
.

W O R D PI C TU R ES

h alf

41

qu a rte rn o f

ignite d brandy , an d be dight with C h r i st

m a s holly stuck into the top
Oh , a wonderful pud ding ! B ob C ratchit s a id , and
ca lmly t o o , that h e regarded it as the gre atest success
achieved by Mrs C ratchit si nce their marriage
Mrs
C ratchit said that , now the w e ight was off her mind , sh e
would co nfe s s sh e had her doubts about th e quantity o f
our Ev e rybody had som e thin g to sa y about i t but no
body s aid o r thought it was at all a small pudding for a large
family It would j i a v e be e n at heresy to do so
Any
C ratchit would have blushed to hint at such a thing
-

Then Bo b propose d :
A m e rry C hristmas to us all , my
dears G o d bl e ss us !
W hich all the f am il y re ech oed
said Tiny Tim , the last of all
Go d ble ss us every o ne !
C H A R LE S D I C K E N S (adapted )
.

T HE

W IT C H S

C AVERN

re burned in the far re c e s s of the cav e ; and over it was

a small cal d ron ; o n a tall and thin column o f iron stood
a rude l am p ; over that p art o f the wall , at th e bas e Of
which burned th e r e , hun g in many rows , as if to dry, a
profusion of h e rbs a nd wee d s A fox couched before the
r e , gazed upon the strang e rs with i t s bri ght an d red eye
its hair bristl in g and a l o w g rowl steali ng from betw e en
its t ee th ; in th e c e ntr e o f th e cav e was an e arthe n statu e
which h ad thr ee h e ads Of S i n gular and fantastic cast A
low tri p od stood b e for e thi s
.

it was not th e s e appendag e s

of t h e cave that
thrilled th e blood o f th ose who gaz e d fe arfully t herein i t
was the face o f its inmate B e fore the re , with th e li g ht
sh ining full upon her features , sa t a w o m a n of considerabl e

Adap ted from T h e Last Days o f Pomp eii

B ut

INT ER P R ETI V E R EAD IN G

42

age H e r countenance b e tray e d th e remains O f a re g ul a r , but

high an d aquiline order o f fe ature : with stony eyes turned
up on them with a l ook that met and fasc i n ate d th e irs
they b e h e ld in th at fear ful countenance the very image of
a corpse !
It is a dead th i ng
Gla u c u s
Nay i t stirs i t is a gh ost !
I o ne
O h a way away !
It is the witch o f Ves u vi u s !
Sla ve
W h o ar e ye ? And what do ye h ere ?
Wi tc h
W e ar e storm beaten wanderers from the
Gla u cu s
neighborin g city ; we crave shelt e r an d the comfort of your
hearth
Wi tc h
C ome to t h e re if y e will ! I never welcome
living thin g save the owl , th e fox , the toad , and the vi p e r
so I cannot w e lcome y e ; but come to the re with o ut
w e lcome why stan d upon form ?
We disturb you , I f e ar
I one
T e ll m e , are ye brother and sister ?
Wi tc h
No
I one
Ar e ye m arried ?
Wi tc h
N ot s o
Gl a u cus
Ho , lovers ! ha ! h a ! h a !
Wi tc h
W hy dost thou laugh , Old cr o ne ?
Gl a u cu s
D i d I laugh ?
Wi tc h
Sh e is in her dotage
Gl a uc u s
Wi tc h Thou liest
Hush ! Provoke her not , d e ar Gla u cus
I o ne
I will tell thee why I laughed when I discovere d
Wi tc h
ye w e re lovers
It was becaus e it is a pleasure to the old
and
and withere d to look upon young h e arts lik e yours
to know the time will co m e wh e n y o u will loathe e ach
oth e r loath e loathe h a
ha
ha
The gods forbid Yet , p oor w oman , tho u kn o west
I one
littl e of l o ve , o r th ou wo u ldst know that it neve r c h a nge s
.

W OR D PI C TU R ES

43

W a s I youn g onc e , t hi nk y e ? And a m I old ,

an d hideous , an d d e athly n ow ? Such a s is th e form , so is
the heart
Hast th ou dw e lt h e r e long ?
Gl a u cu s
ye s
Ah , long
Wi tch
It is but a drear abod e
Gl a u c us
Ha ! thou mayst w e ll say th at H e ll is b e neath
Wi tch
us !
And I will tell thee a secret th e d i m thi ngs b e low
ar e pr e p ar i n g wrath f o r ye above
Thou utt e r e st but e vil words In the futur e ,
Gl a u cu s
I will brav e th e t e mpest rath e r th a n thy welcome
None should e ver s ee k m e ,
Wi tc h Th ou wilt do w e ll
save the wretch e d !
And why the wr e tch e d ?
Gla u c us
I am th e w i tch o f th e mountai n ; my trade is to
Wi tc h
giv e hop e to th e hop e l e ss : for th e cross e d in lov e , I have
philtr e s ; f o r th e avaricious , prom i s e s of tr e asur e ; for th e
ha p py and th e g ood , I h av e only w h at lif e has curses !
Trouble m e no mor e
IVi tc h

'

A s G laucu s no w tur ne d towards the witch h e p e rceiv e d

for the rst t i m e j ust u nder h e r s e at th e bri ght gaze and
crest e d head of a larg e s nak e : wheth e r it was that th e vivid
coloring o f th e Athen i a n s cloak , thrown ov e r th e sh oulders
its crest b e gan to
o f Ion e , attract e d the r e ptil e s ang e r
glow an d ris e as if m e n aci ng a nd p re p aring its e lf to spri ng
upon th e N e apolitan ; G laucus cau ght quickly at on e o f
the h alf burn e d logs upon th e h e arth and as if e nrage d
at the action th e snake cam e forth from i t s sh e lt e r , a nd
with a loud hiss ra i se d its e lf o n e nd , t i ll its height nearly
ap p roach e d th at o f th e G r ee k
,

Gla u cus
se e

it de ad !

W itch , co m man d

thy

creature ,

or

thou wilt

INT ER P R ETIV E R EA D IN G

44

It h as be en despo i led o f its ven o m

Wi tch
Ere the words had left her lips , the sn ake h ad sp rung
u pon Glaucus ; the agile G re e k l e ape d lightly aside , a nd
struck so fell a blow o n th e h e ad o f th e snak e , th at it fell
prostrate and writhing am on g the embers of the re
The h ag sp rung up , a nd stood confronting G laucus wit h
a fac e which would h av e b e tt e d the ercest of the Furies
W i tc h
Thou h ast had shelter under my roof, a nd
warmth at my hearth ; th ou h ast returne d e vil for good ;
thou h ast smitten and Slain the thing that loved me a nd was
m i ne : now hear thy punishment
I curse thee ! a nd
thou art cursed ! May thy love be blaste d may thy name
b e black e ned may the infernals m ark thee m ay thy h e art
wither an d scorch may thy last h o ur recall t o thee the
pr o phet voice of the Saga o f Ve suvi u s !
.

L ong an d loud rang th e ech o e s of t h e c a vern wit h t he

dread laugh of the s aga
The lovers gaine d t h e O pen air

Alas ! s aid Ione , my soul feels the omen of evi l

Preserve u s, oh , ye gods !
L ORD L Y TT ON
.

B EAUT Y
A n obl e r wan t Of man i s serve d by n a t u re , n a mely , the
love of B e auty
The anci e nt G reeks calle d the world , beauty
Such
is the constitution Of all things , or such the pl a s ti c
p ower o f th e human e y e , that the primary forms , as
th e sky , t he mountain , th e tr e e the anim al , give u s delight
i n a nd f or t hem se lves a pl e asur e aris i n g from outline , color,
motion , an d group i n g This seems partly owing to th e eye
.

e c ial arrang ement w i th a nd p e rm i ssi on o f Me ssrs

Hou g hto n Mi fi n C o the authori z ed p u bl ishers o f th e works o f
Ra l p h W ald o Emerson
*

U sed

by

sp

W O R D PI CT U R ES

45

itse l f
T h e eye i s the be st o f ar tists By t h e mutu al
acti o n Of its structure and of the law s o f light , p e rspectiv e
is pr o duced , which integrates ev e ry mas s o f Obj ects , o f
wh at character soe ver , into a w e ll color e d and shad e d glo b e ,
so that where the p articular obj ects are mean an d unaffect
ing , the landscap e which they compose is round and sym
metrical And as th e e ye i s th e best comp oser, s o light is
the rst o f painters There is no obj ect so foul that i nt e ns e
light will no t m ake beautiful And the stimulus it aff ords
to the sense, an d a; so rt o f i nni t ud e which it hath , like
sp ace an d time , make all matter gay Ev e n th e corpse
has its 0WD beauty But be sides this general grac e di ff used
over natur e , alm ost all the ind i vidual form s are agreeable
to the eye , as is prove d by o u r endles s imitation s o f some
of them , as the acorn , the grape , the pin e cone , the wheat
ear , the egg , the w i ngs and form s o f most birds , the lion s
claw , the serpent , th e butt e ry , se a shells , ames , clouds ,
buds , leave s , and the form s o f many tr e es , as the palm
For better consideration , we m ay distribute the aspects
of B eauty i n a threefold manner
1 First , the S i mple perception o f n atu ral forms is a de
light The i nuenc e o f th e f orm s and actions in n ature is
s o ne e df ul to man , that , in its lowest functions , it seem s
t o l i e o n the c o nne s of commodity and beauty To the
body an d m i nd which h ave been crampe d by noxi o us work or
company , n ature is medicinal and restore s their tone The
tradesman , the attorney , comes ou t of the din an d craft of
the street , an d see s the sky an d the woods , and is a man
again In their et e rnal calm , he nds hims e l f The health
o f the eye seems to demand a h orizon
W e ar e never tir e d ,
so long as we can se e far enough
But in o ther hours , Natur e s atises by its l o ve l i
ne ss , a nd witho ut any mixture o f corporeal b e ne t
I see the spect a cle o f morning from th e hillt o p ov e r
.

INT ER P R ETI V E R EAD IN G

46

against my h ouse , from daybr e ak to sunri se , wit h emotions

which an a ngel migh t shar e The long slen d e r bars of
c l oud oat like sh e s in th e s e a o f crim s on light From
th e e arth , as a Shore , I look o ut i nto that sil e nt se a
I
se e m to p artak e i t s rapid tran sformations : the active e u
chantment reaches my dust , an d I dilat e an d conspire with
th e morn i ng wi nd How do e s N atu re d e ify u s with a f e w
and
ch e ap el e m e nt s ! Giv e me health and a day , an d
I will make the pomp o f e mperors ridiculous The dawn
is my Assyria ; the su ns e t an d moonris e my P aphos , an d
u ni maginabl e r e alms o f faeri e ; broad noon shall b e my Eng
l a nd o f the sense s an d the understanding ; the night shall
be my Germ any o f myst i c philos ophy and dr e am s
N ot l e s s exc e llent , e xc e p t f o r o ur l e ss susceptibility i n
the afternoon , w as th e charm , last e v e ning , o f a January
sunset The w e st e rn clouds d i v i d e d a nd subdivide d them
selve s into pink ak e s modulat e d with tints o f un speakable
softnes s ; and the air had so much l i f e and sw e etne ss that
it was a p ain to come within doors W hat was it that
n atur e would say ? W a s there n o m e a ni ng in the live
repos e o f th e v al l e y b e hind the mill , a nd which Homer
could n ot r e form for m e in words ? The
o r Sh a ksp e a r e
l e aes s tre e s b e came Spir e s o f ame in the sunset , with
the blu e e ast for th e ir background a nd the stars o f the
d e ad calice s o f ow e rs , a nd e v e ry wither e d stem and s t ub
ble rime d with frost , contribute som e thing to the mute
music
The inhabitants Of citi e s suppos e that the country land
scape is pl e asant only half the y e ar
I pl e ase mys e l f w i th
th e grac e s o f the winter scenery , an d b e lieve that w e ar e a s
much touch e d by it as by th e g e nial i nu e nce s o f summer
To th e att e ntive e y e , e ach mom e nt o f the y e ar has i t s own
be auty , an d in th e sam e eld , it b e holds e very h our , a
pict ur e whic h w a s never seen be fore an d which shall nev e r
.

W O R D PI C TU R ES
be

47

seen agai n Th e he av e n s chang e e v e ry moment , and

r e ect th e ir g lory o r gl oom o n th e p lains b e n e ath Th e
stat e o f th e crop in th e su rr o rm di ng farm s a l t e rs th e e x
pr e ssion o f the e arth from w e ek to w ee k Th e succession
o f native plants in the pastur e s an d ro adsid e s which m ak e s
th e sil e nt clock by which time t e l ls th e summ e r hours , wi l l
mak e e v e n th e divi si ons Of th e day , se ns i bl e to a k e e n
Observ e r T he tribes o f birds and i ns e cts , li ke th e pl ants
punctual to th e ir time , follow e ach oth e r an d th e y e ar
has room for all By wat e r cours e s , th e variety i s g reater
In July , th e blu e p o nt e d e ria o r pick e r e l w ee d blooms in
larg e bed s in the shallow p arts of o u r p l e a s ant riv e r ,
an d swarms with y e llow butter i e s in continual motion
Art cannot rival this p om p of p urpl e an d gold
Ind ee d ,
the river i s a p e rp e t ual gala , a nd boasts e ach month a n e w
ornament
But this b e auty Of N atur e which is s e en an d f e lt as b e auty,
is th e l e ast p art Th e shows o f day , the d e wy morning ,
the rainbow , mountai n s , orchards in b l ossom , stars ,
moonl i ght , Sh ado ws in still wat e r a nd t h e l i k e , if too
eag e rly hunt e d , b e com e shows m e r e ly and moc k us with
th e ir u nre ality Go o u t of th e hous e to se e th e moo n, and

t is mer e tins e l ; it w i ll not pl e ase as wh e n its l i ght sh i n e s

upon your n e c e ss ary j ourne y Th e b e auty that sh i mm e rs
i n the yellow aft e rnoo ns o f O ctob e r , who e ver could clutch
it ? G O forth to nd it , an d it is g o ne : t is o nly a m i rage
as y o u look from the w i ndows of di l i g e nc e
2 Th e pr e senc e o f a h i gh e r , nam e ly , o f th e S p iritual ,
e l e m e nt is e ss e ntial to its p e rf e c tion Th e hi gh a nd d i v i n e
b e auty wh i c h can be lov e d w i thout e ffe m i na c y is that
wh i ch is fou nd in comb i natio n with th e human w i ll
Ev e ry
Be auty is th e mark G o d s e ts u p on virtu e
natural action is grac e ful
Ev e ry h e roic act i s also
d e cent , and cause s th e place an d the bystanders to shine
.

I NT ER P R ETI V E R EA D I NG

48

W e are taugh t by great actions that the universe is the

prop e rty o f every individual in it Every rational cr e atur e
h as all n ature f o r his d wry and e stat e
It is his , if he
will
H e m ay dive st himself o f it ; h e may cr ee p into a
corn e r , and abdicat e his kingdom , as most m e n d o , but he is
e ntitl e d to the worl d by his constitution In pro p ort i on to
th e e n e rgy o f hi s thought and will, h e tak e s up th e world
into h i mself
All thos e th i ngs for wh i ch m e n plow , bu i ld ,

o r sa i l , O bey virtue ,
said Sallust
Th e winds and

waves , s aid G ibbon ,

are always o n the sid e o f the

ablest navigators
SO are the su n and moon a nd all
the stars o f heav e n
W hen a noble act is don e , per
chance in a scene o f great natural b e auty ; wh e n L e onidas
and his three hundred martyrs consume o ne day in dying ,
and the sun and moon come each an d look at th e m once in
the steep d e le O f Therm opyl ae ; when Arnold W inkelri e d ,
in the high Alps, und e r the shadow of th e avalanch e , gathers
in his side a she af o f Austrian spears to bre ak the lin e
for his comrad e s
a r e no t these heroes entitled to add th e
beauty o f the s cene to the b e auty Of the d eed ? W hen the
bark of C olum bu s nears th e shore Of America
before it , the
beach lin e d with savag e s , e e i ng o u t o f all their huts Of
c ane ; the se a behin d ; an d th e purple mountain s o f t he I n
di an Arch i p e lago around , can we s e parat e th e m an from
the living picture ? D oes not th e N e w W orld clothe his
form with her palm grov e s a nd s avannas as t drap e ry ?
Ever doe s natural beauty st e al in lik e air , and envelo p great
actions W hen Si r H e nry Vane w as dragg e d up the Tow e r
hill , Sitti n g on a sl e d to suff e r death , as th e champion of th e
En glish laws , one o f t h e multitud e cri e d out to him , Yo u

nev e r sat on so glorious a seat

C h arle s II , to intimi
d ate the citi z ens O f Lo ndon , caused the patriot L ord R us
sell to be drawn in an open coach , through the principal

s treet s o f the city , o n h is way to the

B ut ,
scaff old
.

W OR D

P I C TU R ES

49

hi s

bio grapher s ays , th e multitud e imagined they sa w

l i berty an d virtue sitt ing by his Sid e

In privat e p lac e s ,
amon g sordid O bj e cts , an act o f truth o r hero i sm s e ems
at once to draw to itself th e sky as i t s t e mple , th e
su n as its candl e
N atur e str e tch e th o ut h e r arm s to em
brace man o nly l e t his thoughts b e o f e qual greatn e ss
W illingly do e s sh e follow his st e p s with the ros e a nd th e
viol e t an d b e nd h e r line s of grandeur an d grac e to the
d e coration o f h e r darlin g child Only l e t his thoughts be
o f e qual scope , an d the frame wil l suit th e p icture
R A L P H W A L D O EME R S O N
.

'

JEAN

VALJ EAN AN D T HE
PA RT

BISHOP

The door was thrown Open wid e

A m a n e ntered an d
stopped , leaving the door open b e hind him
H e had h i s
knaps ack o n his shoulder his stick i n h i s hand and a
rough , bold w e ari e d and viol e nt e xpr e ssion in h i s e y e s
The r e li gh t f e ll on him ; he was hideous ; it was a sinister
apparition
The bishop xe d a quiet eye o n the man , as he Op e ned
his mouth , doubtl e ss to ask the new comer what he w ant e d
Th e m an leant both his h ands o n his stick , looked in turn
at the two ag e d fe males and the Old man , a nd , not waitin g
for the bishop to sp e ak , said in a loud voice ,

My n am e is J e an Valj ean I a m a g alley slave , and

h ave sp e nt nin e te e n years in th e ba gne
I was lib e rated
four days ago , an d starte d f o r Pontarl i e r , which i s my d e s
I h av e b ee n walkin g for four days S i nce I l e ft
t i na t i o n
Toulon , an d to day I h av e m arch e d tw e lve l e ague s Th i s
eveni ng o n comi ng into the town I w e nt to the inn, but was
sent away in con s e quence o f my y e l l ow passp ort , which I
had sh o wn at the police offi ce I went to anot he r i n , and
.

INT ER P R ETIV E R EA DI N G

50

the l a ndlord said to me , B e o ff

It was the s ame e ve ry
where , and no o ne would have any dealings with me
I
went to the p r i so n, b u t the j ai l er would not take me in I
g ot into a dog s k e n nel , but th e d o g bit me and drov e me
Off, as if it had b ee n a man ; it s ee med to know who I w as
I went into the elds to sl ee p i n the star light , but there
w e re no stars
I thought it would rain , and as th e re w as
no Go d to pr e v e nt it from rainin g , I came back to the town
I was lyi ng down o n a stone in
t o sle e p in a doorway
th e squar e , wh e n a good woman p oi nte d t o your hous e and
said , GO a nd knock th e r e
W hat sort o f a h ouse is this ?
I hav e mon e y , 100 francs 15 sous ,
D o you keep an inn ?
which I earn e d at th e bagn e by my nin e t e en y e ars toil
I
will pay , for wh at do I car e f o r that as I have m o ney ! I am

v e ry tir e d an d frightfully hungry will you let m e stay her e ?

Madame Magloire said the bishop , y o u will lay a n

oth e r knife an d fork

The man advanc e d three p ac e s , and approach e d the lamp

which was o n the table

W ait a minute , h e continued ,

that will not d o Di d

a s if h e had not compr e hend e d ,
you not hear me sa y that I w a s a gall e y slave , a convict ,
and hav e j ust come from th e bagne ?
He took from his

pock e t a larg e yellow pap e r , which h e unfolde d

Here is
my passport , y e llow , as you se e , which turns m e o u t where
ev e r I go
W ill you r e ad it ? I can re ad it , f o r I learne d
to do so at t h e bag ne , wh e re there is a school f o r th os e who
like to att e nd it This is wh at is writt e n in my passp ort :

Je an Valj e an , a l i b e rat e d convict , nativ e o f

but that
doe s not conc e rn you
h as r e main e d nin e t e en y e ars at the
galleys
Five y e ars f o r robb e ry with hous e br e aking , four
t ee n ye ars for h aving tri e d to escap e four tim e s Th e m an
is v e ry dangerous
All th e world has turned m e o ut , an d
ar e you willing to receiv e me ? is this an inn ? will y ou give
me some food and a bed ? have yo u a stable ?
.

W O R D PI C TU R ES

51

Madame Magloir e , s aid the bishop , you will put

c lean sh ee ts o n th e b e d in th e alcov e

The bishop tu rn e d to th e m an
Si t down an d warm
yourself , si r ? W e shal l sup d i r e ctly , a nd your bed will be

g o t r e ady whil e we ar e supping

Th e m a n un d e rstoo d this at once Th e e xpr e ssion O f
hi s face , which had hith e rto b ee n g loomy and h arsh , was
marke d with stu p e faction , j oy , doubt a nd becam e e x t r a o r
H e began stamm e ring like a lunat i c
di na r y
Is it true ? w ha t ? You will l e t m e stay you will not
driv e m e o ut , a co nvict ? Yo u call m e Si r , you do no t

"
thou me
th at is wh at i s always said
Ge t o u t , dog
to me ; I really belie v e d y o u would turn me o u t , an d hence
told you at once who I am ! O h what a worthy woman
I shall h a v e supper , a bed
sh e was wh o s e nt m e here !
with mattr e ss and sheets , lik e everybody e lse ! Fo r nine
teen ye ars I h ave no t sle p t in a bed ! You really mean
that I am to stay Yo u are worthy people besid e s , I have
money and will p ay handsom e ly By th e w ay , what is
your name, Mr Landlord ? I will pay anythi ng you pl e as e ,
for you are a worthy m a n You k ee p an i nn, d o you no t ?

I am , s aid th e bish op
a priest livin g in this house

A prie st ! the m an continued W hile sp e akin g , h e

deposite d h i s knap s ack and stick in a corne r , r e tur ne d h i s

Yo u a r e human e
passport to his p ocket , and sa t down
sir , an d do no t f ee l co nt empt A good priest i s very good

?
The n yo u do not want me to p a y

k ee p your mon e y How long

N O , sa i d th e bisho p

?
did yo u take in e ar ni ng th e s e 100 fr a ncs

Nin e teen y e ars

Nineteen y e ars ! th e bisho p gave a d e ep si gh

Th e m an went o u ,
I h av e all my mo ne y st i ll ; in four
days I h ave only Spent 25 sous , which I e arne d by h e lping
to unload carts at G rasse A s you ar e an abb I w ill tell
.

,
.

INT ER P R ETI V E R EA D ING

52

we h ad a c h aplai n at the bagne , and one day I sa w a

bish o p , mon seigneur , as they call him
H e is the cur ove r
th e c u r es ; but , pardon m e , y o u know that , placed as w e
ar e , we (convicts ) know and e xplain su ch th i ngs badly , a nd
f o r m e in p articular it is so far away in the p ast
He s aid
mas s in the middl e Of the bagn e at a n altar , and had a
point e d gold thin g o n his h e ad , which glist e ned in the
bright sunshine ; we w e r e drawn up o n thre e sid e s o f a
square , with gun s an d light e d match e s facing us
He
spok e , but was t o o far off, a nd we d i d not hear hi m
Tha t

is w h at a bish op is
W hile h e was speak i n
g the bishop had gone to close the
door , which h ad b ee n l e ft op e n Madam e Magloire came
in, bringin g a silver spoon a nd fork , which she plac e d o n
the table

Madam e Magloire , s aid th e bishop , lay them as near

as you can to th e r e ; a nd , turnin g to his guest, he said ,

The night breeze is sh arp o n th e Alps , and yo u must b e

cold , si r
Each time h e s aid the word Si r with his ge ntle grave

voice the m an s fac e was il l umin e d

Si r to a convict is the
glass o f water to the sh ipwr e cke d sailor o f the M eduse
Ignomi ny thirsts for r e sp e ct

This lamp gi v e s a V ery bad light , the bishop continued

Madame Magloire u nd e rstood , a nd fetche d from the chimn e y
o f m ons e ign e ur S b e droom th e two silv e r c a nd l e st i c ks, which
sh e placed o n th e tabl e r e ady light e d

Monsi e ur l e C ur e, s aid the m an, you are goo d and

do not despise m e
You receive m e as a friend , an d
light your w a x can dl e s f o r m e and yet I have no t hid
d e n from y o u whence I com e , an d that I am an unf o r

t una t e f e llow
Th e bish op , who was s e ated by hi s side , gently touched

You need not have told me wh o yo u w e r e ;

hi s h and
yo u :

W O RD PI CT UR ES

53

t hi s i s not my hous e , but the h ouse of C hr ist This door

does not ask a man who enters wh e ther h e has a nam e , but
if he has s orrow ; you ar e suffe ring , y o u ar e hungry and
th irsty , an d so b e w e lcome
An d do no t th ank m e , o r sa y
that I am receiving you in my h ouse , for no on e is at home
here e xc e ptin g the man who h as n ee d o f an asylum
I tell
you , wh o are a passer b y , th at yo u are more at hom e here
than I am myself , and all there is here is yours W hy do
I want t o kn ow your nam e ? b e sid e s , b e fore you told it to

me you had o ne which I kn e w

Th e man open e d his e yes in am azem e nt
Is t hat tru e ? y o u kno w my n am e ?

Ye s, th e bishop answer e d ,
you are my broth e r

Yo u hav e suff ere d gr e atly ?

Oh ! the re d j acket, the cannon b all o n your foot , a

pl ank to sle e p o n, he at , cold , labor , th e se t of men , the
blows , the double chain for a n othing , a dung e on for a
word, ev e n wh e n you are ill in bed, and th e C hain gang
The very dogs are happier
N in e teen y e ars ! a nd no w I
am forty si x ; an d at pre sent , th e yellow pas sport !

Ye s , said th e bishop you h ave com e from a plac e o f

sorrow L isten to m e ; th e r e w i ll be mor e j oy i n he a ven
over th e te arful face of a r e p e ntant s i n ne r than ov e r the
white rob e s o f o ne hundr e d j ust men
If you leav e th at
mournful place with thoughts o f hatr e d a nd an g e r against
your fellow men you are worthy of p ity ; if you l e ave it
with thoughts O f kindlines s , g e ntl e n e ss , a nd p e ac e , you are

worth m ore th an any o f u s

.

After bidding his sist e r g ood ni ght Mo nseign e ur W e l

com e took up o ne o f th e silv e r candl e sticks , handed th e
oth e r to his guest , an d said ,

I will lead y o u to your roo m , si r

T h e bishop le d his guest to the alcove , where a cl e an bed
-

I NT ER P R ET IV E R EA D IN G

54

w as prepar e d f o r h im ; the m a n placed th e bra nched c andle

st ick o n a small table

I trust you will pass a good n i ght , s aid the bish o p

Th ank you , Mon si e ur l Ab b th e man said He sud

d e nl y turn e d to the Old gentl e man , folde d his arms , a nd
xing o n him a s avage glance , h e e xc l aime d h oars e ly ,

W hat ! y o u really lodge me s o clos e to you as that ?

He broke O ff an d adde d with a laugh , i n which t h ere was
someth i n g monstrous ,
Have you r e e cted fully ? W ho
tells you that I have not committe d a murder ?

The bish op answer e d , That conc e rns Go d

Then grav e ly moving his lip s , he stretched out his right
h an d and bl e ss e d the m an, wh o did not bow his head , an d
returne d to h i s bedroom , without turning o r looki ng b e hin d
hi m
W hen t h e alcov e was occupi e d , a larg e serge curtain
drawn ri ght acros s the oratory conc e ale d the altar The
bishop kn e lt down as he passe d b e fore this curtai n , an d
O ffere d up a sh ort pray e r ; a mom e nt after he was i n his
gard e n, w alkin g , dr e ami ng , contemplating, h is soul and
thoughts e ntirely occupie d by those grand mysteri e s which
Go d dis p lays at night to e yes that remain open
Midnight
was striking as the bish op returned from his garden to the
room , and a f e w m i nut e s lat e r everybody was asleep i n the
sm all h ous e
.

two O clock pealed from t h e cathe dral bell , Jean Va l

j e an awok e He ros e , hesitat e d for a moment and listened ;
all w as Sil e nt in the house , and h e w e nt on tipto e to the
window through which h e p ee red
Aft e r taking this
glanc e , he we nt boldly to th e alcov e , opene d his knapsack ,
took out som e thing which he laid o n the bed , put hi s sho e s
in o ne of the p ouches , plac e d th e knaps ack on h is shoulders ,
put o n his cap , the peak o f which h e pulled over h is eyes ,
grope d for his s tick , w h ich he had place d i n t h e window
AS

W O RD P I CT UR ES

55

then r e turne d to the b e d , an d took up the O bj ect

he h ad laid on it It res e mbl e d a short iron bar , sharp e n e d
at one of its e nds
It would hav e b e e n d i fcult to d i st i n
guish in the darknes s for what purpose this piece of iron
had be e n fashion e d ; p e r h ap s it w as a lev e r , perhaps it was
a club By daylight i t could h av e b ee n s ee n that it was
nothing but a miner s c andl e stick Th e convicts at that
day w e r e s om e t i m e s e mp loye d in e xtracting rock from th e
lofty hill s that surro un d Toulon , an d it was no t infr e qu e nt
for th e m to have mini n g tools at their disp osal Th e
min e rs candlesticks ar e made o f massive st ee l , and h av e a
poi nt at th e lower e nd , by which th e y are d u g into th e
rock
H e took the bar in his right hand , a nd holdin g his
breath and deadening his footst e p s h e wal ke d to ward th e
door of th e adj oinin g room
O n reach in g this door h e
foun d it aj ar the bishop had n ot shut it
nook , and

Je an Valj e an listen e d , but th e r e was no t a sound ; he

pushe d th e door wit h th e tip of h is ng e r li g htly He
h e ard from the en d o f th e room the calm an d r e gular
breathing o f the sleep i n g bishop
Suddenly he stopped ,
for he was cl o se to th e bed ; h e h ad r e ached it soon e r th a n
h e anticipated For nearly h alf an h our a h e avy cloud had
covered t h e sky , but at the moment when Jean Valj ean
stopped at th e foot o f the b e d , this cloud was r e nt asund e r
as if expressly , an d a moonb e am pass i n g through th e tall
wi ndow sudd e nly illumin e d th e bishop s p al e fac e Th e
moon in the heav e ns , th e h o ur , the sil e nce , th e mom e nt
adde d someth i ng solemn and ind e scribable to this man s
v e nerable r e po se , an d cast a maj e stic and s e re ne halo rou nd
his white hair an d clos e d e y e s , his fac e , in which all was
h ope and condenc e his age d h e ad , and his infant i ne
Ther e w as al most a div i nity in thi s unc o n
slumbers
J e an Valj ean was standing in the
sc i o usl y august m a n
.

INT ER P R ETI V E R E A D IN G

56

s h adow with h i s crowbar in h is h and, motionless and te r

r i e d by this luminous o l d m an
He h ad never seen any
thi ng like this before , and such condence horried hi m
Th e m oral world h as no greater sp e ctacl e than this , a
troubl e d re stl e s s conscience , which is on the point of com
mitting a bad actio n, contemplating the sl e ep o f a j ust man
.

All at onc e J e an V alj ean put o n his cap again , then

w al ke d rapidly along the b e d , without looking at the bishop ,
and went stra i ght to the cupboard Th e rst thin g h e s a w
w as th e plate basket , which he seized He hurri e d acros s
t h e room , opene d the window , seize d his stick , put the
silver in his pocket , threw aw ay th e basket , leape d into the
garden , bounde d over the wall like a tiger , an d ed
.

J EAN

VALJ EA N AN D T HE
PAR T

BISHOP

II

The ne x t morning at sunrise Monseigneur W elcome w a s

w alking about the gard e n , when Madame Magloire came
running toward him in a state of great alarm
Monseign e ur , monseigne ur ! she screamed , does your
grand e ur kn ow wh e re the plate basket is ?

Yes , said the bis h op

Th e L ord be praised sh e c o ntinued ; I did not know

what h ad b e come o f it
The bishop had j ust pick e d up th e basket in a o we r

b e d , and now h and e d it to Ma d am e Ma gloir e

Here it

i s , he said

W e ll ! Sh e s aid , th e r e is nothin g in it ; wh e re is the

?
late
p

Ah ! the bishop r e pli e d , it is the plate that trouble s

your min d W ell , I do not know where that i s

.

W OR D PI CT URES

Lo rd ! it is stol e n ,

n i g h t is the robb e r
Go od

and

that

m an

57

wh o

c am

e last

strange and violent group app e ar e d Three men were

ho lding a fourth by th e collar Th e three men were gen
darmes , th e fourth was Jean Valj e an A corporal , who
a pparently comm ande d th e party , cam e in a nd wa l k e d up
to the bishop with a mili tary s alute
Monseign e ur W elcome had advan c e d as rap idly as hi s
gre at ag e p e rmitted

Ah ! ther e y o u ar e he s aid , looking at Jean Val j ean

I am glad to se e you Why , I gave you the candl e sticks too ,

which ar e a l SO silv e r , a nd will fe tch you 200 francs W h y
did y o u not t ak e th e m aw ay with th e rest Of th e plate ?
Je an Valj ean op e n e d his ey e s , and looked at the bishop
with an expression which n o human languag e could rend e r

Monseign e ur , th e corporal s aid , what this man told u s

w as true then ? W e met hi m , and as he look e d as i f he were
runni ng away , we arr e st e d hi m
He had this plat e

And he told you , the bish op i nterrupted with a smil e ,

th at it was giv e n to him by an old pri e st at whose hous e

h e passed the night ? I se e it all And yo u brough t him

?
back here
That is a mistake

In that case , the corp oral conti nued , we can let him
A

,5

O f course , th e bish op an sw e red

The gen darme s loosed their h old of Je an Valj e an wh o
t otter e d back

?
Is it true that I am at liberty
he said , in an almost
in articulate voice , an d a s if sp e akin g in hi s sl ee p

?
Yes , you ar e let go ; don t you understand
said a
g endarme

My friend the bishop continued , befo re you go t a ke

your candlesticks
.

I NT ER P R ETI V E REA D IN G

58

He went to the mant e l piece , fetched the tw o candle

sticks , and h an ded th e m t o Jean Valj e an
Jean Valj ean
was tr e m b ling in all h i s limbs ; h e took th e candlesticks
mech anically , and with wand e ring looks

Now , said th e bishop , go in p e ace

Th e n turnin g to th e g e ndarmes , h e said ,
Gentlemen ,

you can r e tir e

They did so
Th e bishop walked up t o Jean Valj ean ,

and sa i d i n a low voice , N e v e r forg e t that y ou h av e

promis e d me to em p loy this m oney i n becoming an hon e st

man
J e an Valj ean , who had no recollection o f having promised
anythi ng , stood silent Th e bishop continue d solemnly ,

J e an Valj e an my brother , you no long e r b e lon g to e vil ,

but to good I hav e bought your soul o f you
I withdraw
it from black th oughts an d the spirit o f perdition , and give

it to Go d
VI C T OR H U GO

Adapted from Le s M i ser a bl e s

-

T HE

RIME

O F T HE

AN CIEN T MARINER

PA R T

II

The Sun now rose up on t h e rig h t :

Out o f th e se a came he ,
Still hid in mist, an d o n th e l e ft
W e nt down into t he s e a
.

An d the good south win d still blew be h ind ,

B ut no sweet bird did follow ,
Nor any day for food o r play

C ame t o the mariners hollo !

,

W OR D PI C TU R ES

59

And I h ad done a hel lis h th ing ,

An d it would work e m wo e :
For all av e rr e d , I h ad k i lled th e bird
That mad e the br ee z e to blow

Ah , wretch ! s aid th e y th e b i rd to Slay,

That mad e th e br e ez e to blow !
.

dim nor red lik e G od s own h e ad ,

The g lorious Su n u p ri st :
Th e n all a v e rr e d , I h ad k i ll e d th e bird
That brought th e fog a nd mist
Twas right , said th e y , such bird s to slay,
That bring the fog and mist

N or

dropt th e breeze , th e s ails dro p t down,

Twas sa d as sad could be ;
And w e did s p e ak only to break
The silenc e Of th e se a !

D own

All in a hot and copp e r sky ,

Th e bloody Su n, at noon ,
R ight up above th e m ast did stan d ,
N o bigger than th e Moon
.

after day , day aft e r day ,

W e stuck , nor br e ath nor motion ;
A S idl e as a p aint e d shi p
Upon a p ai nte d oc e an

D ay

W ater, wat e r, e v e rywhere ,

An d all the boards d i d shrink ;
W ater , wat e r , e v e rywh e re,
N o r any drop to drink
.

60

INT ER P R ETI V E R E A D IN G
T he

very deep did r o t : O C hrist !

That e ver this should be !
Y e a slimy things did crawl with legs
Upon th e sl i my se a
,

About , about , in reel a nd rout

Th e d e ath r e s danced at night ;
The water , l i ke a witch s o i ls ,
B urnt green and blue , and whit e
-

And

some in dreams assured were

O f the Spirit that plagu e d u s so :
Nine fathom d e ep h e had followed u s
From th e lan d o f mist and snow
.

An d ev e ry tongu e , through utter drought,

W a s wither e d at the root ;
We could n ot spe ak , n o more than if
We had been choked with soot
.

Ah ! well a day ! what evil look s

Ha d I from Old a nd young !
In ste ad of the cross , the Albatr o s s
About my neck w as hung
SA M U EL T A Y L OR
-

C O LE R I D G E

D IV I S I ON
C HA PT E R

A tm

II

II

o sp h e r e

The atmosphere of lit e ratur e is the feeling or spirit that

pervade s it
At mosphere i n interpretive readin g is th e
response o f voice a nd fac e and body to the feelin g arous e d
in th eSpeaker by the lit e ratur e
This respons e com e s from
repeate d sympathetic study o f the though t an d sentim ent
T 0 read u nderstandingly is n ot al l The he art must enter
in The reader sh ould mak e o thers feel the pow e r an d
beauty o f the literature read as he feels it This is the
Spiritual interpretation of lit e rature
Memorize the
Study a selectio n as in all pre vious st e p s
lines
Let your thou ghts dwell o n the lines Re cit e them
over an d over Study again , giv e yourself out t o thos e to
whom you read Live your th oughts Have a beautiful
messag e for others that may be h e lpful to them
F ee l
what you sa y
.

S EL E C T I ON S
T HE

RID E

FOR

LIFE *

The night was clear , with a touch o f frost in the air , yet
with th e f e e li ng in it o f approach i ng spring A dim light
f e ll over the for e st from the half moon a nd th e stars a nd
seem e d t o ll up th e littl e clearing in which th e mans e
stood , with a w e ird an d mysterious radi ance Far away
.

Re p ri nted by p ermi ssion from T h e Ma n from G lengarry

Copyri g ht 1901 by Fleming H Re ve ll Comp any

62

INT ER P R ETI V E R EAD IN G

fo st t h e
h owl of a wolf r o se and fell ,
and in a mom e nt sharp an d clear came an an swer from the
bush j ust at h and
Mrs Murray dre ad e d th e w o lve s , but
sh e w as n o coward a nd scorn e d to show f e ar

T h e wolve s ar e o u t B a na l d , Sh e s aid , carel e ssly , as

B a na l d cam e up with the pony

Th e y are no t many , I think , an sw e r e d the boy as

car elessly , but ar e you do you think p e rhap s I coul d

j ust tak e th e medicin e an d yo u will come

Nonsense , R a na l d ! bri ng up the pony D O you think

I have liv e d all this time in Indian Lands to be afraid of a
wolf ?

In d ee d you a r e n ot afraid , I know that well !

B a na l d shrank from laying th e cr i me o f being afr a id at
the door o f th e m i nist e r s w i fe , whos e f e arl e ssness was pro
v e r b i a l in the community
but maybe
The truth
w a s, R a na l d would rather be alone if t h e wolves came o ut
Bu t Mrs Murray was in the saddle , and the p ony was
i mp at ient to be o ff

will go by the C amerons clearing , a nd then take

their wood track

It is a better road , s aid B a na l d , after
th e y had got through the big gat e

N ow , R ana l d , y o u th ink I a m afraid of t h e s w amp ,

and by t h e C amerons is much longer

Ind ee d , I hear them say that you are not afraid o f the

of anythin g , s aid R a na l d , quickly, but this road is

bett e r for the horse s

C ome on , th e n , with your colt , and the pony darte d

away o n h e r quick springi ng gal lop , follow e d by th e colt
goi ng with a long , easy , loping strid e
For a mile th e y
k e pt sid e by sid e until th e y r e ach e d the C am erons l a ne, "
wh e n R a na l d h e ld in the colt and allow e d th e pony to lead
A S they pass e d through th e C amerons yard th e big b la ck
d o gs , f a mous be a r hunters , cam e ha yi ng a t the m
T he
i n the

l ong dr a wn
~

re

A TM O SPH ER E

63

po ny regarde d th e m with indiff e rence , but the colt shied

and plun g e d

Wh oa , Liz !
Liz was R a na l d s contraction for L i z ette ,
t h e nam e the French horse train e r and breeder , Jules L a
R ocqu e , gav e to her moth e r , who in her day w a s qu e en o f
th e ic e at L O r i g inal C hristmas races

!
Th e dogs , who knew
B e quat e , N igg e r , will you
R a na l d w e l l , c e as e d th e ir clamor , but not b e fore the kitchen
door op e ne d a nd D o n C am e r on came o ut
D on w as abou t; a ye ar older than R a na l d an d was hi s
friend an d comrade

I t s me , D o n an d M r s Murray there
D o n gaze d Speechles s

An d what
he began

Father is no t well He is hurted , and Mrs Murray

i s goin g to se e hi m , an d we must go
B ana l d hurri e d through h i s story , im patient to g e t o n

aske d D o n
B ut ar e you going up through th e bush ?

?
Ye s, what e ls e , D on
aske d Mrs Murray
I t is a

?
good road , isn t it

O h , y e s , I suppose it is good en ough , s aid D o n, doubt

fully, But I heard
W e will come o u t at our o w n cl e aring at the back , you

kn ow , B a na l d hurried to sa y , giving D o n a kick

W hist ,

m an ! She is se t upon going

At that moment , away o ff
toward th e swamp , which they w e re avoiding the lon g ,
h e art chilli ng cry Of a mother wolf quaver e d o n the st i ll
night air
In spite o f h e rs e lf Mrs Murray shivered , an d
th e boys look e d at e ach oth e r

There is only o ne , said B a na l d in a low voice to D o n,

but they both kne w th at wh e r e th e sh e wolf is ther e is a

p ack not far O ff

And w e will be through the bush in

v e m i nute s

C o me , R a na l d ! C ome away , y ou can talk to D on a ny

.

IN T ER P R ETI V E R E AD ING

64

G ood night , D o n
time
An d s o s aying she h eaded h e r
pony toward the cl e aring a nd was o ff at a gallop , a nd
R ana l d , sh aking his he ad at his fri e nd , ej aculated :

?
M a n alive ! what do you think o f th at
and was off
after t he p ony
Together th e y entered th e bush
The road w a s well
b e aten and the horses were keen to go , so that befor e m any
minut e s were over they were half through th e bush R a
na l d s spirits rose , an d he b e gan to take some int e rest in
hi s comp anion s O bservations upon th e beauty o f the lights
and Sh adows falling acros s their path

L ook at that v e ry dark shadow from the spruce there ,

R a na l d
sh e cri e d , p ointing to a d e ep black turn in the
road For answ e r th e r e cam e from b e hin d th e m th e long ,
mournful hunting cry o f the wolf H e was o n th e ir track
Imm e diat e ly it was answer e d by a chorus o f howls from
the bush o n the Swamp sid e , but still far away Ther e
was no ne e d o f command ; th e p ony spran g forward with a

snort an d the colt follow e d , and aft e r a few minutes run

ning , p assed h e r

W how o o o o o o o w , ros e the long cry o f the pursuer

summ oning help , and draw i ng n e ar e r

W o w e e wow , cam e th e Short e r , sharper answer from

the swamp , but much near e r than befor e and more in front
They w e r e trying to h e ad off th e i i pr e y
R a na l d tugged at his colt till he g o t him back with the
po ny

It is a goo d road he s aid , quietly

You can let the

p ony go
I will follow you
H e swun g in behind th e
p ony , who w a s now runnin g f o r d e ar lif e an d snorting with
terror at ev e ry j ump

said R a na l d to himself H e had

Go d preserv e u s !
cau ght sight of a dar k form as it darted through the g le am
of light in fr o nt

A TM O SPHE R E

65

The voice was qu i et

W hat di d you sa y ,
a nd clear

It is a gr e at po ny to run wh atever , s aid B a na l d,

ashame d of him s e lf

?
R a na l d

sh e

no t ?

glanc e d over his should e r D own the road , run

nin g with sil e nt , awful swiftn e s s , h e sa w the lo ng l o w
body o f the l e adi ng wolf ash i n g throu gh th e bars o f moon
light acros s th e road , an d th e p ack fol l owing hard

L e t h e r go , M r s M urray , cr i e d B a na l d
W h ip h e r

Bu t th e r e was no ne e d ; th e po ny was
and n e v e r stop
wild With f e ar , a nd was doing h e r b e st ru nning
B a na l d meant i m e was gradually h oldi ng i n the colt and
the p ony drew away rapidly B ut as rapidly th e w olv e s
were cl osi ng in b e hi nd h im
Th e y wer e no t mor e than a
hundred yards a w ay , a nd gain i ng e very s e con d R ana l d ,
rem e mb e ri ng th e suspicious n ature o f th e brut e s , loos e n e d
his coat an d dropp e d it o n th e road ; with a chorus o f y e lp s
they paus e d , th e n thr e w th e ms e lve s upon it , and in an other
minute took up th e chase
The p ony w as far
But now th e clearing was in S i ght
ahe ad , and R amald Sh ook o ut his colt with a yell
He w as
non e too s oon , for th e pursuing pack , now utt e rin g sh ort ,

Liz e tt e , ee t
s hrill yelps , wer e clos e at th e colt s h e els
as the wind , could n ot shak e them o ff
C loser an d e v e r
clos e r they c a m e , snappin g an d snarli ng
R a na l d could
A hun dr e d yards mor e and
se e th e m o ver his shoulder
he would r e ach his ow n back lane
Th e leader o f the p ack
s ee m e d to f ee l that his chanc e s w e r e slipping swiftly away
W ith a spurt h e gai ne d u p on Lizette , r e ache d th e s addle
girth s , gath e re d himself in tw o short j um p s , and Sprang
for th e colt s throat Instinctiv e ly R ana l d stood up in
his stirrups , and , kicking his foot fre e , caught the wolf
under the j aw The brute fell with a h o wl under the
.

INT ER P R ETI V E R EA D IN G

66

colt s feet, and next moment th e y w e re in the l a ne and

s afe
Th e s avage brut e s , discourag e d by their le ader s fal l ,
Slow e d down their e rce pursu i t a nd , h e ar ing th e d ee p
bay o f the M acdo nalds great d ee rhound , B ugl e , up at th e
house , they p aused , sn i ffe d th e a i r a fe w mi nute s , th e n
turne d an d swift l y and s i lently sl i d into th e dark shadows
B a na l d , knowing th at they would h ardly dar e e nt e r th e
lane checke d th e colt , and , wheeli ng, watched them dis
appear

I ll h av e some o f your hides some day , he cried , shak

i ng h is st af ter them
H e h at e d to b e made to r un

H e had h ardly se t the colt s face homew ar d when he

h e ard som e thi ng tearing down th e lan e to meet th e m The
colt sn ort e d , swerved and th e n , dro p pin g his e ars , stood
still
It was B ugle , and after him c a me M r s Murray on
th e po ny

Oh , R a na ld ! She p ante d , th ank Go d you are safe

/
you
H e r voic e broke i n sobs
I V
va s afraid yo u
Her h ood had falle n back from h e r whit e face , and h e r e ye s
were shinin g li ke two stars
Sh e laid h e r hand o n R a na l d s

arm , and her vo i c e gr e w st e ady as sh e s aid , Thank G o d ,

my b oy , and thank you with all my heart Yo u risk e d
your l i fe for min e
Yo u are a brave f e llow ! I can never
forget this !

said B a na ld , awkwardly
You are
Oh , p Sh a w !
Y o u cam e back w i t h Bugle
And
b e tter stu ff than I am

I knew Liz could b e at th e po ny wh at e ver

Th e n th e y
w alke d th e ir hors e s quietly to th e stabl e , and nothin g mor e
was s aid by e ither of th e m , but from th at hour B ana l d had
a frien d re ady to Offer l i f e f o r h i m , thou gh he did not
kn o w it then nor till y e ars aft e rwards
C H A R LE S G O R D ON

A TM O SPHER E
HY M N

B EFORE

SU NRI SE,

67

T HE VALE O F

IN

C HAM OU NI

Hast th ou a charm t o stay th e morni ng star

S o long h e s ee m s to pause
I n h i s st ee p cours e ?
O n thy bal d a wfu l h e ad , 0 s ovran Bl a n c !
Th e Arv e a nd A r ve i r o n at thy bas e
R ave c e as el e s s ly ; but thou , most awful Form !
R i s e st from forth thy s i l e nt se a o f p in e s ,
Ho w si l e ntly ! Around th ee a nd a bov e
D ee p i s the air , and dark , substantial , black ,
An eb on mass : m e think s thou p i e r c e st it
As with a w e dg e ! B ut wh e n I l ook again ,
It i s thi ne o w n calm h om e thy crystal Shrine ,
Thy h abitation from e t e r nity !
O dr e ad an d si l e nt Mou nt ! I gaz e d u p on th e e ,
Till thou , still p r e s e nt to the bodily s e ns e ,
D idst va ni sh from my thought : e ntrance d in prayer
I worshi p p e d th e I nv i sibl e alon e
-

Yet , like som e sw ee t , b e guil ing m e lody ,

So sweet , we kn o w no t w e ar e listening to it
Thou , the me anwhile , w a s t bl e nd i ng with my T h ough t,
Y e a , with my L i f e and Lif e s own secret j oy :
Til l the di lat i ng Soul , e nrapt , transfus e d ,
Into the mighty vision passin g there
A s in h e r natural form , sw e ll e d vast to Heaven !

Awake , my soul ! not only p assi ve praise

Thou ow e st ! n ot alon e th e s e sw e llin g t e ars ,
Mut e thanks and s e cr e t e c s tasy ! Awake ,
Vo i c e o f sw ee t s on g ! Awake my he art awake !
G r e en val e s and icy cliffs , a l l j oin my Hymn
,

Thou rst and chi e f , sol e s ov e r e ign o f the Vale !

O struggli ng w i th the darkne ss a l l th e night,

INT ER P R ETIV E REA D IN G

68

And visit e d a ll night by troop s of stars ,

O r when they climb the sky or when they sink :
C ompanion o f th e morning star at dawn ,
Thys e lf Earth s rosy star , an d o f th e dawn
C o h e rald : wak e 0 wak e , and ut te r praise !
\ Vh o s ank thy su nle ss pillars d ee p in Earth ?
\Vh o ll d thy cou nt e n ance with rosy l i ght ?
\Vho mad e th e e parent o f p e rp e tual str e ams ?
-

And you , ye ve wild torr e nts e rc e ly g lad !

W h o called you fort h from night and utt e r de ath ,
From dark and icy cav e rns cal led y o u forth ,
D own thos e pr e cipitous , black , j agg e d rocks ,
Fo r ever shatt e r e d a nd th e sam e for e v e r ?
W h o gave you your invulnerable l i f e ,
Your strength , your Spe e d , your fu ry and y o ur j oy,
Unc e asing thunder a nd e ternal foam ?
An d who comm anded (an d the sil e nce came ) ,
Here let the billows stiffen , an d h ave rest ?
Ye Ice falls ! ye that from the mountain s bro w
Adown enormou s ravines slop e am ain
Torr e nts , meth i nk s , that h e ard a mighty voice ,
And stopped at o nc e amid th e ir madd e st plunge !
Motionles s torrents ! Silent cataracts !
W h o made you glorious as the Gat e s o f H e aven
B eneath the keen full moon ?
W h o b ad e the su n
C loth e yo u wi t h rainbow s ? W h o , with livi ng ower s
O f lov e lie st blue , Spread garlands at your f ee t ?
G o d ! l e t th e torrents like a shout of nations ,
Answ e r ! and l e t the ic e plain s echo , G o d !
G o d ! sin g ye meadow str e ams with gladsom e voice !
Ye pin e grov e s , with your soft and soul like soun d s !
And they too have a voice , yon pil e s o f snow ,
And in their perilous fall sh a ll thunder , Go d !

A TM O SPH ER E

69

Ye living o wers that skirt the eternal frost !

Ye wi l d go ats sp orting round th e e agl e s n e st !
Ye eagles , play mat e s o f th e mount ai n storm !
Ye lightnings, th e dread arrows O f the clouds !
Y e signs and wonders of t he e lements !
Utt e r f o rth Go d , and ll the hills with praise !

Thou , t o o , hoar Mount ! with thy sky pointin g pe aks ,

0ft from wh os e fe e t the avalan che , unh e ard ,
Sh oots downward , glitt e ring through th e pur e ser e ne
Into the depth o f clouds , that veil thy br e ast
T h O i i too again stup e ndou s Mountain ! thou
That as I rais e m y h e ad , awhile bowe d low
In adoration , upward from thy base
Slow t rav e llin g with dim eye s suffused with tears ,
S olemnly se e m e st , like a vapoury C loud,
T o ris e befor e me R ise , 0 ev e r rise ,
R ise like a cloud o f i ncense from the Earth !
Thou kingly Spirit thron e d among the hills ,
Th ou dread am b assador from Earth to Heaven ,
Gr e at Hierarch ! tell th ou the sil e nt sky ,
And tell th e stars , an d tell yo u risi ng sun
Earth , with her tho u san d voices , praises Go d
S T C O LE R I D G E
-

T HE SU NRISE

From early childhood , even as h ath been said ,

From his sixth year , he h ad been sent abroad
In summer to tend herds : such was his task
Thencef o rward till th e later day o f youth
0 then what soul was his , when , o n th e top s
O f the high mountains , h e b e h e ld the sun

R is e up , and bathe the world in light ! He look d

O c e a n an d e arth , the s o lid fr am e O f earth
.

I NT ER P R ETI V E R E A D ING

70

And oce an s liquid mas s , b e n e ath h i m lay

I n gladne ss and d ee p j oy
Th e cloud s w e r e touched ,
An d in their sil e nt fac e s did h e r e ad
Unutt e rabl e lov e
Sound n ee d e d no ne ,
N or a ny voi c e o f j o y ; his s p irit drank
Th e s p e ctacl e ; s e n s ation , s oul and form
All m e lt e d into him ; th e y swal low e d up
Hi s animal bei ng ; in them did b e live
And by th e m did he liv e : th e y w e r e his life
In such acc e s s o f mind in such h i gh h our
O f visitat i on from th e livin g Go d ,
Thought was n ot ; i n e nj oym e nt it ex p ired
N o thanks h e b r e a th d , h e p r o ff e r d no request ;
R apt i nto still communio n that transce nds
The imp e rf e ct O f c e s o f prayer an d p raise ,
His min d w as a th a nksg i vi ng t o the Pow e r
That made hi m ; it was bless e dness and lov e !
W I LL I A M W O R D S W O R T H
.

T HE SU N SET

heath thi s e l e vat e d spot su p pli e d ,

W ith re stin g p lac e of mossy sto ne ; an d there
W e sate r e cl i ne d adm iring qui e t l y
The fram e and g e ne ral as p e ct o f th e sc e ne ;
And e ach no t s e ldom e ag e r to m ak e known
His o w n discoveries ; o r to favorit e points
D ir e cti ng notic e , mer e ly from a wish
T impart a o y imp e rfe ct whil e u nsh ar e d
Th at rapturou s mom e nt n e e r Sh all I forget
W hen th e s e p articular int e r e sts w e r e e ffaced
From e very m i nd ! Alr e ady h ad the sun,
Sinki ng w i th l e ss than ord i nary stat e
Att a in ed his western b o un d ; but rays o f light
Soft

A TM O SPH ERE

71

Now suddenly div e rging from th e o r b ,

R e tir e d b e hi nd th e mountai n to p s or veiled
By th e d e nse air
shot upwards to th e crown
O f th e blue r m a m e nt a l o f t and wid e ;
And multitudes o f l i ttl e oating clouds ,
Pierce d through th e ir thin eth e r e al mould , ere we ,
W h o sa w , o f chan g e w e r e co nsciou s , had becom e
Vivid a s r e cl ouds s e p arately poised ,
In num e rabl e multitud e o f forms
S cattered th ro u g h half the circl e o f the sky ;
And givin g back , and shedding e ach o n each ,
With prodigal communion , the bright hues
W hich from th e unapparent fount o f glory
Th e y h ad imbibed , and cease d not to receive
That wh i ch the heav e ns display e d , the liquid deep
Re peate d ; but with unity sublim e !

Wh ile from the gras sy mountain s op e n side

W e gaz e d , in silenc e hushed , with eye s intent
O n th e r e fulg e nt sp e ctacl e diffused
Through e arth , sky , wat e r , a nd all visibl e sp ace ,
The Pri e st , in h oly transport , thus e x c l a i m d

Eternal Spirit ! Universal Go d !

P ower in accessible to human thought

Sav e by d e gr ee s a nd st e p s w h ich th ou h ast d e i gn d

T o furnish ; f o r this im ag e o f Thyself,
To th e inrmity of mortal sen se
Vouchs af e d ; this local , transitory type
O f thy p at e rn al spl e n dors , and th e pomp
O f th os e wh o l l thy courts in highe st he aven ,
The radiant cherubim
accept th e thanks
W hich w e thy humbl e creatur e s , h e re convened ,
Presum e to offe r ; w e , who from th e breast
O f th e frail ear th , p e rmitt e d to behold

'

I N T ER P R ETIV E R EA D IN G

72

The fai nt r e e ction s o nly o f thy fac e ,

Are y e t e xalt e d , an d in soul adore !
Such as th e y are who in thy p r e s e nc e stand ,
Unsull i e d , i ncorruptibl e , a nd dr i nk
Imp e rishabl e maj e sty st r e a m d forth
From thy e m p yr e al throne , th e e l ect of earth
div e st e d at the ap p oi nt e d hour
Shall b e
O f all dishonour cl e anse d from mortal stain
Accompl i sh , th e n , their numb e r ; a nd conclude
Ti m e s weary course ! O r if by thy d e cre e ,
The consummation th at will come by st e alth
B e y e t far d istant , l e t thy W ord pr e vail ,
O h ! l e t thy W ord pr e va i l , to tak e away
Th e stin g o f human n atur e
Spr e ad th e law ,
As it is wr i tt e n i n thy holy book ,
Throughout all lands ; l e t e v e ry nation hear
Th e high beh e st , and every he art obey !
W I LL I A M W O R D S W O R TH

PSALM

XXIV

Th e e arth i s th e L ord s and th e fu l n e s s th e r e of ; t he

world , a nd th e y that dwell th e r e i n
Fo r he hath fou nd e d it upon th e s e as , and e stablish e d it
upon th e oods
W h o shall ascen d into the h i l l o f th e Lord ? or wh o shall
stan d in his holy pl ac e ?
H e that hath cl e an hands an d a pure heart ; who
hath not lift e d up his so ul u nto vanity, nor sworn d e

c e i t f u ll y

H e Sh all r e c e ive th e bl e ssin g from th e Lord , and r i gh te

o u sne ss from th e Go d of his salvation
This is the g e neration o f th e m that s ee k him that see k
thy fac e , 0 Jacob
.

A TM O SPH ER E

73

L ift up your h e ads , 0 ye gates ; an d be ye lift up , ye

everlasting doors ; and th e K in g o f g lory shall come in
W h o is this K in g o f glory ? Th e L ord stron g and
mighty , th e Lord mighty in battle
L ift up your heads , 0 y e gate s ; e v e n lift th e m up ye
ev e rlastin g doors ; and the K in g o f glory shall come in
W h o is this K ing of glory ? The Lord o f hosts , h e i s
the K ing o f glory
A PS A L M O F D A V I D
.

T HE OPEN SKY

It i s a strange th in g how littl e i n g e neral people know

about th e sky
It is th e p art o f cr e ation in which nature
has don e mor e f o r the sake of pl e asing m a n, more for th e
s ole an d e vid e nt purpose o f talki ng to him an d teachin g
h i m , th a n in a ny oth e r O f h e r w orks , and it is ust the part
in which we least att e nd to h e r Th e r e are not m any o f
her oth e r works in which some mor e m at e rial o r e ssential
purpose than the m e re pl e as i n g Of m an is n ot an sw e r e d by
ev e ry p art o f their organization ; but e very e ss e ntial pur
pose Of the sky might , so far as w e know , be answered , if
once i n three days , o r th e r e abouts , a gr e at ugly black rain
cloud were brou g ht up over th e blu e , an d ev e rythin g w e ll
wat e r e d , an d SO a ll left blu e aga i n t il l n e xt tim e with per
h ap s a lm o f morni ng and ev e n i ng mist for dew And
inst e ad o f this , th e re i s no t a mom e nt Of any day of o u r
liv e s , wh e n n atur e is n ot produc i n g sc e n e aft e r scen e , pic
tur e aft e r pictur e , glory afte r glory, and working still upon
such e xquisit e a nd const ant pri ncipl e s o f th e most perf e ct
beauty , that it is quite certain it is all don e for u s, a nd i h
tend e d for o ur p e rp e tual pl e asure
And e v e ry m a n, w h e r
ev e r placed , h ow e v e r far from oth e r source s of int e r e st o r
Th e noblest
o f b e auty , h as this do i ng for h i m c o nstantly
sc e nes Of the earth can b e s e en an d known but by few ; it
.

T4

INTER P R ETI V E R E A D ING

is n ot inte nd e d that m an s h oul d liv e always in the midst

o f th e m , h e i nj ur e s th e m by his pr e s e nc e , h e c e as e s to f ee l
them if h e b e al ways with th e m ; b ut the Sky is for all ;

bri g ht as it i s , it i s not too bri ght n or good , f o r human

n atur e s da i l y food
it is tt e d i n a l l i t s fu nctio ns for the
p e rp e tual comfort an d e xalti ng o f th e h e art , for the sooth
i ng it a nd pur i fyi ng it from its dros s a nd dust
S omet i mes
g e ntl e , s om e tim e s ca p ricious som e t i m e s awful , n e ver t h e
s am e f o r two mom e nts to g e th e r ; al mo s t human in its p as
sio ns , almost spiritual in its t e nd e r ne ss , almost divine in
its i n nity , its ap p e al to what is immortal in us , is as dis
tinct as its mi ni stry Of cha sti se m e nt o r o f b l e sssi ng to w h at
is m ortal is es s e nt i a l A nd y e t w e ne v e r att e nd to it , we
n e ver m ak e it a subj e ct of th ou ght , but a s it has to d o with
o u r anim al s e nsation s ; w e look upon all by which it sp e aks
to u s mor e cl e arly than to brut e s , u p o n a l l which bears wit
ness to th e inte nt i on o f the Su p r e m e , that we are to rec e ive
mor e from th e cov e ring vault than th e light an d the dew
which w e sh are with th e w ee d an d the worm , only as a
succession o f meaningles s a nd mo notonous accid e nt , t o o
common an d too vain to b e worthy o f a moment o f watch
fuln e s s , o r a glance o f ad m iratio n If in o u r moments o f
utter idl e ne s s a nd insi p idity, w e turn to the Sky as a last
r e source , which Of its ph e nomena do w e sp e ak o f ? O ne
says it h as b ee n w e t , and another it has been windy , an d
anoth e r it has b ee n warm W h o am ong the whole chatt e r
i ng crowd can t e ll me o f th e forms an d the precipic e s of
the chain o f tall white mountai ns that gird e d the horizon
at n oon yest e rday ? W h o saw the narrow sunbeam that
came o ut o f the s outh , and smot e upon th e ir summits until
th e y m e lt e d an d mou l dered away in a dust o f blue rain ?
W h o saw th e dance Of th e d e ad clouds wh e n t he sunlight
left them last ni g h t , an d th e w e st wind blew them before
it l i ke withere d leave s ? All h as p assed , unr e grette d a s
,

A TM O SPH ER E

75

unseen ; o r if the apathy b e e v e r shaken O ff , even for an

i nstant , it is only by what i s g ross o r what is e xtraord i n ary ;
and y e t it is no t in th e broad and e rc e man i fe stations Of
the e l e mental e n e rgi e s , no t i n th e cl ash Of th e hail , no r th e
dr i ft o f th e wh i rlwin d , t hat th e h i gh e st characters o f the
sublim e ar e d e v e l op e d
Go d i s n ot i n th e e arthquak e , no r
Th e y ar e but the
i n the r e , but in the st i ll , sma l l vo i c e
blunt a nd th e low facult i e s of our natur e which can o nly
b e address e d through lam p black and l i ght ni ng It is in
quiet an d s ubdu ed passag e s o f u nobtrusiv e maj e sty , the
deep , a nd th e calm and th e perp e tual , th at which must
b e s ought er e i t i s s ee n an d lov e d e r e it is und e rstood ,
thin gs which th e ang e ls work o u t for us daily , an d ye t
vary e t e r na l ly , which ar e ne v e r wanti ng an d n e v e r r e
p e a t e d , which are to be found always y e t e ach found but
onc e ; it i s throu gh th e s e that th e lesson o f d e votion i s chi e y
taught , an d the bl e ssi ng of beauty given
JO HN R U S K I N
,

C L O UD

B EAU T Y

Th at mist which li e s in th e mornin g so s o ftly in th e

vall e y , l e v e l a nd wh it e , through which th e tops o f th e tr ee s
ris e as if throu gh an in u ndatio n why i s i t so h e avy ? and
why do e s it lie SO low b e i ng y e t so thin and frail that it
will m e lt away utt e rly i nto s p l e ndor o f morni ng , when the
su n h as shon e on it but a f e w m ome nts mor e ?
Those
colos s al pyram i ds hug e and rm , with outl i ne s as o f rocks ,
a nd s tr e n g th to b e ar th e b e at i ng of the high su n full o n
th e ir e ry a nks why ar e they so l i ght their bas e s high
ov e r o u r h e ad s h i gh ov e r th e h e ads o f Alps ? why will
th e s e m e lt away , not as the su n rise s , but as he d e scends ,
an d leav e th e stars o f twil i ght cl e ar whil e the valley vapor
gains again upon th e e arth l i ke a shroud ?

I NT E R PR E T I V E R E A D I N G

76

Or

that gh ost of a cloud , w h i c h ste als by yonder clump

o f pines ; nay , which does no t st e al b y them , but haunts
th e m , wre athing yet ro und them , and yet and ye t , slowly :
no w fallin g i n a fair waved line like a woman s veil ; n ow
fading , now gone : we look away fo r an in stant , and look
back , and it is again th ere W h at has it to do with th at
clump o f pin es , th at it broods by th em a nd weave s itself
among th e i r branche s, to an d fro ? Ha s it hidden a cloudy
treasure am ong th e m oss a t thei r roots , which it watche s
thus ? O r h as some strong ench anter charmed it into fond
return i ng , o r boun d it fast within those bars of b ough ? And

yonder lmy crescent , bent like an archer S ho w above the

snowy summit , the highest o f all the hill , t h at white arch
which never forms but ove r the supreme crest , how is it
stayed there , r epelle d apparently from th e snow nowhere
touching it , th e cle a r sky between it a nd the mountain edge ,
yet never leaving i t poised as a white bird hovers over its
ne st ?
O r those wa r clouds that gathe r on the horizon , dragon
crested , tongue d with r e ; h ow is their barbed strength
bridle d ? wh at bits are these they are champing with
their vaporous lips ; inging o ff ake s of black foam ?
League d leviathans of the Se a o f Heaven , out of their
n ostrils goeth smoke , an d their eye s are like th e eye
lids of the morning The sword o f him that layeth at
them cannot hold the spear , th e dart , nor the haber
geon
W here ride the captains of the i r armies ? W here
are se t the measu r e s of their march ?
Fierce murmur
e r s, answering each other from mor ning until evening
what rebuke is this which has awe d them into peace ?
what hand h as reine d them back by the way by w h ich
they came ?
I kn ow n ot if the r eade r will think at r st that questions
like th e se a r e e asily answered
So f a r f r om it , I r a th e r

AT M O SPHERE

77

believe that some o f th e myste r ies of th e clouds neve r will

be unde r stood by us at all
.

close to us may be blue , but far o ff , golden , a str ange

re sult , if the ai r is blue A nd aga i n , if blue , W hy are rays
that come through large space s of it red ; and that A l p , o r
anything else that catches far away light , why colored red,
at dawn and sunset ? N o o ne knows, I believe
I t is true
that m any substance s , as opal , are blue , o r green , by r e
e c t e d light , yellow by transmitted ; but air , if blue at all ,
is blue always by transmitted light
I hear of a wonderful
solution o f nettles , o r other unlovely herb , which is green
when sh allow , red when deep Perhaps s ome day , as the
motion o f th e heavenly bodies by help of an apple , their light
by help o f a nettle , may be explained to m ankin d
But farther : these que stions o f volat ili t y , and visibility ,
and hue , are all complicate d with those of shape Ho w
is a clou d outline d ? G rante d whatever yo u choose t o ask
concernin g i t s mater i al , o r its aspect its loftine ss and lumi
nou sne ss,
how o f i t s lim i tation ? What hew s it into a heap ,
or spin s it i nto a web ? C old is usually sh apeless , I sup
pose , extending over large spaces equally , or with gradual
d i m i nu t i o n
Yo u cannot have , in the open air , an gles , and
wedge s , and coils , and cli ff s o f cold
Yet the vapor stop s
suddenly , sharp an d steep as a rock , o r thrusts itself acros s
the gates of he aven in likenes s of a brazen bar ; o r braids
itself in and o u t , and ac r os s and across like a tiss u e o f
tapestry ; or falls into ripples , like sand ; o r in to w avin g
shre ds and t o ngues , as re
O n wh at anvils and wheels
is the vapor pointed, twisted , hammered , whirled , as the
potter s clay ? By wh at h an ds is the incense o f the sea
built up i nto dome s o f m a r ble ?
J O HN R U S K I N
C louds

INT ER PRE T I VE RE A D I N G

78

PIPPA PA SSES

l
a r e,
A
g
(

m ea

n,

i vg/c h a
'

s il k

ber

A gi r l, P ipp a ,

y r i wgi ng

o ut o

be d

fr o m

t he

Day !

Fas t er and more fast ,

O er n i ght s br i m day b oils a t last :
B o i ls , pure g o ld , 0 er the c loud cup s brim ,
W here s p ur t ing a nd suppre ssed it l a y ,
Fo r no t a froth a ke touched th e r i m
O f yonde r gap in the so l id gray
O f th e e astern cloud , an h our away ;
B u t forth o ne wave l e t , then an o ther , curled
Till th e wh ole sunrise , no t t o be su p p resse d ,
R ose , reddened , an d its seething bre ast
Flickere d in bounds , grew g o l d , then o v e r o w e d the world

O h D a y , if I squander a wav elet o f th ee ,

A mi t e o f my t w elve hours treasure ,

-

The least o f thy gazes o r gl a nce s ,

B
e they grants thou art boun d to o r gifts above measure
(
)
O ne o f thy cho i ce s o r o ne o f thy chances ,
m p o se d
B
they
tasks
od
i
thee
or
freaks
at
thy
e
G
(
pleasure )
M y D a y , if I squ ander such labor o r leisure ,
Then shame fall o n A s o l o , mischief o n me !

Thy long blue solemn hours serene l y owing ,

W hence ear t h , we feel , gets ste a dy help and good
Thy t f ul sunsh i ne minutes coming going ,
A s if earth tu rned fro m w ork in games o m e mood
All sh all be mine ! B u t thou must treat me not
As prosperous one s are treated , those who live
At h and h ere , and enj oy t h e h i gher l o t ,
In r ead i ness to take what thou wilt give ,
-

AT M O SP HERE

79

And

free to let alone what thou r e f u se st ;

Fo r , D a y , m y h o liday , if thou ill usest
o l d ye ar s sorrow
M e , w h o a m on l y Pi pp a
C ast o ff last n i gh t , wi ll co m e a ga i n t o morr o w :
\Vh e r e a s, i f t hou pr o ve gen t le , I sh a l l borrow
Su fcien t s t rength o f thee f o r ne w year s s o rrow
A l l other men an d wo m en th at this e arth
Belongs to , who all d a y s a l i ke p os sess ,
M ake general plen t y cure p articular dearth ,
Ge t more j oy one way, if another , l ess :
Thou art my s i ngle day G o d lends to le aven
W h at were all earth else w i th a fee l o f heaven ,

Sole l i ght th at help s me through the year, thy sun

-

And

here I let tim e sl i p f o r naught !

Ah a , y o u foolhardy sunbeam , caught
W ith a single splash from my ewer !
Yo u t h at woul d mock t he be st pursue r,
W a s my basin over dee p ?
O ne Sp l ash of wate r ru i ns y o u asleep,
And up , up , eet your brill i ant bits ,
W heeling and c o u nt e r w h e e li ng ,
R eeli ng broken beyond healing :
Now gr o w together o n the ceiling !
Th at will task your wits
W h oever it w a s quenched re rst , hope d to see
M o r sel aft er morsel ee
A s merr i ly , as gidd i ly
M e anti m e , wh at l i ghts my sunbeam o n,
W here settle s by d egree s the radiant cripple ?
O h , i s it surely blown , my m artagon ?
-

Be

sure if c o rals , branching neath th e ripple

O f oce a n , bud there , fairie s wa t ch unroll

INT ER P RET I VE RE AD ING

8O
Such

turb n o we r s ; I s a y , such l a mp s disperse

Th i ck re d ame through that dusk green univer se !
I am queen of th ee , o w e r e t !
And each e shy blossom
Preserve I no t (safer
Than le ave s that embower it ,
O r shells that emb osom )
From weev i l and ch afer ?
Laugh through my p ane t hen ; solicit th e bee ;
Gibe him , be sure ; and , i n midst o f t hy glee ,
L ove thy queen , worship me !
a

W or ship whom else ? For am I n ot , this day ,

V
Vh a t e e r I ple ase ? W hat shall I please to day ?
M y morn, noon , eve and night h o w spen d my day ?
T o morrow I must be Pippa , wh o winds silk ,
The whole year r oun d , to earn j ust bread an d milk :
B u t , this o ne day , I have leave to go ,
And play o u t my fancy s fullest games ;
I may fancy all day an d it shall be so
That I taste o f the pleasure s , am calle d by th e nam e s
O f th e Happiest Four in our A solo !
-

The ye ar s at the spring

And day s at the morn ;
M orning s at seven ;
The hillside s dew pea r led ;
The lark s o n the w i ng ;
The snail s o n th e thorn :
G od s in his heaven
All s r ight with the wo r ld !

R O B ER T

BR O W NI N G

E N 0C H ARDEN
As

the year
R oll d itself round again t o meet th e day
W hen E noch had r e t ur n d , a lan guor c ame
U pon hi m , gentle sicknes s , gradually
W eakening t h e man , till he could do no mo r e ,
But kept the house , his ch air , an d last his bed
And E noch bore his we ak nes s cheerfully
Fo r sure no gl adlier does th e stran de d wreck
Se e thro th e gray skirts o f a lifting squall
The boat that bears the hope o f l i fe approach
T o s ave th e life despaire d o f , th an he s aw
D eath dawning on him , and the close o f all

For thro t hat dawning gleam d a kindlier hope

O n E noch , thinking , after I am gone ,

Then may sh e learn I love d her to the last

He c a l l d aloud for M iriam Lane an d said
W om an , I h ave a secret only swear ,
B efore I t ell y ou
swe ar up on the B ook

N o t to reveal it , till you se e me de ad

D e ad , clamored t he go od w om an ,
Hear h im talk !

I warrant , man , that we sh all brin g you roun d

on the book
Swear , adde d E noch sternly ,
A nd o n the book , half frighted , M iriam swo r e
Then E noch , rolling his gray eye s upon her

D i d y o u kn ow E noch A rden o f this town ?

K now him ?
she s aid
I knew him far away
A y , a y , I m i n d h i m coming down th e street ;

Held hi s head high , and care d for n o man , he

Slowly and s adly E noch an swered her :
Hi s he ad is low and no m an care s for hi m
I think I have not three days more to live ;

I am t h e m a n
A t which the wom a n gave
.

82

I N T ER P RE TI VE RE AD ING
A

half

in credulous , half hysterical cry

You A rden , you ! nay , sure he w as a foot

Higher t han y o u be
E noch s aid again ,

M y G o d h a s bowed me down to what I am ;

M y grief and soli t ude h ave broken me ;
Nevertheless , know you t hat I am h e
W h o m arried but tha t n am e has twice been changed
I ma r ried her w h o m arried Ph i li p R a y

Then h e told her o f his voyage,

Si t , listen
Hi s wre ck , hi s lonely life his com i ng back ,
Hi s gazing in o n A nnie , h i s re solve ,
A s the w oman heard ,
A nd h ow he kept it
Fast owed the current of her easy tears ,
W hile i n her heart sh e y e a r n d ince ssantly
T o rush abroad all round the little haven ,
P roclaiming E noch A rden and his woes ;
But awe d and p r o m ise boun den sh e forbo r e ,
S ayin g only
Se e your bairns before you go !

E h , let me fetch em , A rde n and arose

E ager to bring them down , for E noch hung
A moment o n her w ords , but then replied :
-

W oman , disturb me n ot no w at the last ,

B ut let me hold my p urpose till I die
Si t do w n again ; mark me and understan d
W hile I h ave p ower to spe a k I charge you now ,
W hen you sh all se e her , te l l he r that I die d
B lessin g her , prayin g for her , loving her ;
Save for th e b ar be t ween u s , l o ving her
A s when sh e laid her he ad besi de my o wn
And tell my daughter Annie , whom I sa w
So like h er m other , t h at my late s t breath
W a s spent i n ble ssi ng her and praying f o r h e r
A nd tell m y so n that I died blessing him

A T M O SPHE R E

83

And

s ay to Philip that I bles t him too ;

He never meant u s anyth i ng b u t good
But if my ch i ldren care t o se e me dead ,
W h o hardly knew me li v i ng , l e t t hem come ,
I am t he i r father ; but sh e m u st no t come ,
Fo r my dead face w o u l d vex her after li fe
A nd n ow there is but o ne o f all my blood
W h o will embrace me in t h e world to b e
This hair i s his : sh e cut i t o ff an d gave i t ,
A nd I h ave b orne i t with me a l l t he se years
A nd t h o ught to be ar i t wi t h me to my grave ;
But now my min d i s ch anged f o r I shall se e him ,
M y babe in bliss : wherefore when I am gone ,
T ake , give her this , f o r i t m a y comfo r t her :
I t will moreover be a token to her ,

That I am he
.

He ce ased ; an d M iriam L an e
M ade such a voluble an swer promising all ,

T hat once aga i n h e rolled h i s eye s upon her

R epe a t i ng all he wishe d , and once again
Sh e promised
.

Then the third nigh t after this ,

W hile E noch slumbere d motionles s an d pale ,
And M iriam wat che d and dozed at intervals ,
There came so loud a callin g o f the se a ,
That a ll the h ou ses in the h aven rang
He woke h e rose h e spread his arms abroad ,

C ryin g w ith a lou d voice

A sail ! a sail !
I am save d ; an d so fell back an d spoke no mo r e
.

So

past the strong heroic soul away

A nd when they buried hi m t h e lit t le port
Ha d seldom seen a costlier funeral
A L F R E D , L O R D T E NN Y S O N
.

D I VI S I O N

II

C HA P T ER I I I
T o ne C o l o r

Tone color i s the suitin g o f sound to sense

Authors u se alliteration and assonan ce to convey certain
ide as to the min d Tone here serve s an important part in
r elation to thought C ertain tone s are associated with cer
tain ideas , thus giving adde d beauty to language and litera
t ure
R ead al o ud literat ure in w hich s ound is suited to

sen se
I n M r L owell s A ppledore , for example , n otice
how the harsher c o nsonant sounds are u sed to pic ture th e
rugged coast
N o tice how the se consonant sounds are r e
N otice th e u se o f liquids an d the repetition o f
pea te d
certain vowel sounds to suggest the s ound of the ocean
The voice must interpret the s ound o r m usi c element of
lite r ature
.

S EL E C T I O N S
1
P
AP L E D OR E ,

h eap of bare and Splintery crags

Tumble d about by lightning and f r ost ,
W ith rifts an d chasms and storm bleache d j ags ,
That wait and growl f or a ship to be lost ;
No island , but rather the skeleton
O f a w r ecke d and vengeance smitten one ,
Wh ere , ee o ns ago , with half shut eye,
-

S c i e nc e o f E ngl ish V e rse

! U se d b y sp e c ia l a rra ng e m e nt wit h a nd p e rm i ssi on o f M essrs
Ho u g h to n Mi fi n
th e a u th o ri z e d p u b l i she rs o f the w o rks o f
Ja m e s R u sse ll Lo w ell
*

See La ni e r

T O NE

C O L OR

85

The sluggish s au r ian crawled to die ,

G aspin g under titanic ferns ;
R ibs o f rock that se award j ut,
Granite sh oulders a nd boulders a nd snags ,
R oun d which , though the winds in heaven be s h ut ,
The ni ghtm a r e d ocean murmurs and yearns
W elters , an d swashe s , and tosse s , and turns ,
A nd th e drea r y black se a wee d lolls and wags ;
O nly rock from shore to shore ,
O nly a m e a n t hrough the bleak clefts blown ,
W ith sobs in the rifts where th e co arse kelp shifts ,
Falling and lifting , tossing and drifting ,
And un der all a deep , dull roar ,
D ying a nd swelling , foreve r more ,
R ock and moan an d roar alone ,
And th e dread o f so m e nam eles s thin g unkno w n ,
These m ake A ppledore
These make A ppledore by night :
T h en there are monsters left an d right ;
E very rock is a different mon ster ;
Al l y ou h ave read of fancied dreamed ,
Wh en yo u waked at night because you screamed ,
There they l i e for half a mile ,
Ju m bl e d together in a pile
And (though you kno w they neve r on ce stir ) ,
If y o u look long , they seem to be m ovi ng
Just as p lainly as can be
C rushin g and cro w ding , wading an d shovin g
O ut into the a w ful se a ,
W here you he ar them snort and spout
W ith pauses be t ween , as though t hey were listenin g ,
Then tumult anon when th e surf breaks glistening
In t h e blackness where they wal low abou t
J A M E S R U S S ELL L O W EL L
,

86

INT ER P RE TIVE RE AD ING

W H E N T H E C O W S C O M E H O ME *

W ith kli ngle , kl a ngl e , klingle ,

W a y down the dus t y dingle ,
The cows are com i ng home ;
N o w sweet an d clear , and fain t and low ,
The airy tinklings c o me an d g0,
Like c hi m i ngs from some far o ff tower ,
O r p atterings o f an A p ril shower
Th at makes the daisies grow
K o kling , ko klang , ko kli ngl e l i ngl e ,
W a y down th e darkening din gle
The cow s come slowly h ome
-

W ith j ingle , j an gle , j in gle ,

Soft sounds that sweetly mingle ,
The cows are com i ng h ome ;
M a l i m e , and Pe arl , an d Fl o r i m e l ,
D e K a m p , R edrose , an d G re t chen Schell ,
Q ueen B ess , an d Sylph , and Spangled Sue
A cros s the elds I hear loo o o ,
And clang her silver bell ,
G o l i ng , go lang , g o li ngl e l i ngl e ,
W ith f a int far sounds t hat min gle ,
T h e cow s co m e slowly h o m e ;
A nd mother songs o f long gone ye ars ,
And baby j oys , and childish fears ,
And youthful h opes , and youthful fe a r s ,
W hen the cow s co m e h ome
-

W ith ringle , ran gle , ri ngle ,

By t w os and three s and single ,
The cow s are coming h ome
.

By p e rm i ssi on

of

th e p u b l

i sh e rs M e ssrs
,

M c C l ur g

Co

87

T O NE C O L OR
Throug h t h e violet a i r we se e the town ,
And th e s um mer su n a sl i p p ing down ;
T h e maple in the hazel glade
Throws down the path a longer shade ,
And the hills are growin g brown
T o ring , to rang , t o r i ngl e r i ngl e ,
By three s an d fours and single ,
T h e cows come slowly home
The s ame s w eet sound of wordles s psalm ,
T h e same sw eet June day rest an d cal m ,
T he same sweet scent of bud an d balm ,
W hen th e cows come h ome
-

W ith a tinkle , tankle , tinkle ,

Through fern and periwinkle ,
The cows are comin g home
A loiterin g in t h e checkere d s t ream ,
W h ere t h e su n rays gl ance and gleam ,
St a r i ne , Peachbloom , an d Phoebe Phyllis
Stand knee deep in the creamy lilies ,
I n a drows y dr eam ,
To link , to lank , t oli nkl el i nkl e ,

0 er banks with buttercu p s a twinkle

T h e cows come slowly home ;
And up through memory 8 deep ravine
C ome th e brook s o l d song an d i ts o l d time sheen ,
And the cresce nt of th e silver queen ,
W hen the cow s come h ome
-

W ith a klingle , kl a ngl e , klingle ,

W ith a 100 00, and m o o c c , a nd j in gle ,
The co w s are coming h ome ;
And over there o n M erlin h i l l ,
Hear the plaintive cry o f the whippoorwill
-

88

INT ER P RE TI VE RE AD IN G
The dew drop s lie o n th e tangle d vine s,
And over th e poplars V enus shines,
And over the silent mill ;
K o lin g, ko lan g , ko li ngl e li ngl e ,
W ith a ting a ling and j ingle ,
The cows come slowly home
Let down the bars ; let in the t r ain
O f long gone songs , and owe r s , and r ain ;
For dear old times come back again
W hen th e cows come home
-

M R S A GN E S E M I T C H ELL
.

D IS C O R D
Thus saying , f r om her side the fatal key ,
Sa d instrument o f all o ur w oe , sh e took ;
A nd , towards the gate rollin g her bestial train ,
Forthwith the huge portcullis high up drew ,
W hich , but herself , no t all the Stygian P owers
C ould once h ave moved ; then in the key h ole turn s
The intricate wards , and every bolt and bar
O f massy ir on o r s olid rock with ease
U nfasten s O n a sudden open y ,
W ith impetuous r ecoil and a r r i ng s ound ,
The infe r nal doors , a nd on their hinge s grate
Harsh thunder , th a t the lowe st bottom shook
O f E rebus
Sh e opened ; but to shut
E xcelled her power ; the gates wide open stood ,
That wit h exten de d wings a bannered host ,
U nde r Spread ensigns marching , might pas s th r ough
W ith horse and chariots ranke d in loose array ;
So wide they stood , and like a furnace mouth
C a st fo rth r edounding smoke and ruddy ame
JO HN M I L T O N
-

T O N E CO L O R

89

C ONC ORD
T h e multitude of Angels , wit h a shout
Loud as from numbers wi t hou t number , sweet
A s from blest voices , utterin g j oy Heaven r un g
W ith j ubilee , an d lou d h osannas lled
The eternal regions
Lowly r everen t
Towa r d either th r one they b o w , a nd to the ground
W ith solemn adoration down they cast
Thei r c r owns , in wove with a marant an d gold,
I mmor tal amarant , a ower which once
In P aradise , fast by the Tree o f Life ,
Began to bloom , but , soon f o r M an s o e nc e ,
To Heaven removed where rst it grew , there grow s
And o w e r s aloft , shadin g the Foun t of Life ,
And where the R i ver o f B l i ss through midst o f He av e n
R olls o er E lysian owers her amber stream !
W ith these , th at never fade , the Spirits elect
B in d their resplen dent locks , inwreathed wi t h beam s
Now in loose gar lands thick thrown 03, th e bright
Pavement , that lik e a se a o f j asper s h one ,
I mpu rple d wit h cele stial roses smiled
Then c r o w ne d agai n , thei r golden harps t h ey took
Ha rp s ever tuned , th at glittering by their side
Like quivers hung ; and with preamble sweet
O f cha rming symphony they introduce
Their sacre d s ong a nd waken raptures high :
N o voice exempt , no v o ice but well could j oin
M elodious part ; such concord is in Heaven
JO HN M I L T O N

T H E C ATAR AC T

O F L O D O RE

Ho w does th e W ater come down at Lodore ?

M y little boy aske d me thu s once on a t M e

INT ER P RE T I VE RE AD IN G

90

And ,

moreove r h e t asked me to tell him in r hyme

A non at th e w ord , there rst came o ne daughter ,
A nd then came another , to second a nd third
The request of the i r brother , an d to hear how the wate r
C ome s down at Lodore wi t h i t s rush an d its roar ,
A s many a time they had seen it before
SO I told t hem in rh y me , f o r o f rhymes I had store :
And twas in my v o cat i on f o r their recreation
Th at so I sh ould sin g , because I w as laureate to them and
th e K in g
.

From its source s which well in the Tarn on the fell ;

From i t s foun t ain s in the mountains ,
Its rills an d i t s gil l s , through moss and through brake
It runs and it creeps for awhi l e , ti l l it sleep s
In its o w n lit tl e Lake A nd thence at dep arting ,
A waking and startin g , it run s t hrough the reeds ,
A nd away it proceeds through meadow an d glade ,
In su n and in shade , and through the wood shelter ,
A mong crags i n i t s urry, helter skelter ,
Here it come s sparkling ,
Hurry skurry
And there it lie s darkling ; n ow smoking and froth ing
Its tu m ult and wrath in , till in this rapid race
O n whi c h it i s bent , it reache s the place
O f its steep descent

T h e C ataract strong then plunges alo ng ,

Strikin g and raging , as if a war wagin g
I t s caverns a nd rocks among ; rising and leaping ,
Sinking an d creep i ng , swelling an d sweepin g ,
Sh owerin g an d springin g , ying and in ging ,
W rith i ng an d ringing , e ddying and whiskin g ,
Spouting an d frisk i n g , turning an d twisting,
A round and arou nd w i th endles s reboun d !
Smiting and ghtin g , a sight to delight in ;

C O L OR

T ONE

91

C onfoun ding ,

astounding , dizzying , and deafenin g

The e ar with i t s sound
.

proj ecting reced i ng and speeding ,

shocking and rockin g , and dart i ng and p arting ,
thread i ng and spre ading , and whizz i ng an d hissin g ,
dripp i ng and skippin g, an d hi t t ing and spl i tt ing ,
shining a nd tw i n i ng and ratt lin g an d battling ,
shak ing and quaking , and pouring and roaring ,
w avin g an d pa v i ng an d tos sing an d crossin g ,
ow ing an d going , an d ru nnin g and s t u nning ,
f b am i ng and roaming , an d dinning an d spinnin g ,
dropping an d hop p ing , and working an d j erkin g ,
guggling and struggl i ng , and heav i ng an d cleavin g ,
mo aning an d groaning ;
glittering and i tt e r i ng an d gat hering an d feathe r in g
whitenin g and brightening , and quive ring and shiver

C ollecting ,

A nd

And
And
A nd
A nd
A nd

And
And
And
And

And

And
A nd

i ng ,

And

hurryin g and skurry i ng , an d thundering and

o und e r

i ns ;

glid i ng and slid i ng ,

fal lin g an d brawling and sprawling ,
drivin g and riving an d striving
sprinklin g and twinkling an d wrinkl i n g,
s ound i ng and bounding and rounding ,
b ubbling and troublin g and doubling ,
grum bling an d rumbling and t umbling
clatterin g an d batterin g and shattering ;

D ividing

And
And
And
And
A nd
A nd
A nd

a nd

and beatin g and meeting and sheeti ng ,

D e l ayin g and straying an d p l aying an d spraying ,
A d vanc i ng an d p ranc i ng an d glancin g an d dancing ,
R ecoilin g t urm o i lin g and toil i n g an d boilin g ,
And gleam in g and stre aming a nd steam ing and beaming ,
R e t reating

INT ER P RE TI VE RE AD ING

92

A nd a ppin g and

r apping and clapp i ng an d slappi ng ,

And curling a nd whirli ng an d purlin g an d twirlin g ,
And thumping an d plump i ng and bumping and j ump i n g,
A nd dash i ng an d ashing and Splashing and clas h i ng ;
A nd so never ending , but always de scen ding ,
S ounds and motions foreve r and ever are blending ,
Al l at once a nd all o er with a mighty uproar ,
A nd this way the W ate r come s down at Lodo r e
R O B E R T S O U T HE Y

T H E C U LPRIT

FAY

Tis the h ou r of fai r y ban and spell :

The wood tick h as kept the minute s well ;
He h as counted them all with click an d stroke ,
D eep in th e heart o f the mountain o a k,
And he h as awakene d the sentry elve
W h o sleeps with him in th e hau nted t r e e ,
To bid him r i ng the h our of twelve
A nd call th e fays to their r evelry :
Twelve small st r oke s o n hi s tinkling bell
Twas
made
o f the white snail s pearly s h el l)
(
M idnight comes , an d all i s well !
Hither , hit h er , w ing you r way ;

Tis the dawn o f th e fai r y day

They come from beds of lichen green ,

They creep from th e mullein s velvet sc r een ;
Some on the backs of beetles y
From t h e silver top s o f moon touche d t r ees ,
W here they swung in their cobweb h ammocks h i gh,
A nd rocke d about in the evening bree ze ;
Some from the hum bird s downy nes t
They had d r iven h i m o ut by el n powe r ,
And pillowe d on plume s Of his r ainbow b r e a st,
Ha d slumbe r e d there till the c h arme d h ou r ;

T O NE

CO L OR

93

had lain in the scoop o f the r ock ,

W ith glitte r in g r ising sta r s i nlai d ;
And s ome h ad opene d the four O clock
And stole wit h in its pu r ple shade
A nd now they thron g the moonlit glade :
Above below o n every si d e ,
Their little m i nim forms a r rayed
In th e tr icksy pomp o f fairy pride !
Some

He put his a dorn he lm et on ;

I t was plume d o f th e silk of the thistle down ;
The corselet plate that guarded his b r east
W a s once the w i ld bee s glittering vest ;
H i s clo a k o f a thousand mingle d dye s ,
W a s forme d o f t h e wings o f bu t terie s ;
Hi s shield was the shell o f a lady bug queen ,
S tuds o f gold o n the groun d o f green ;
And th e quiverin g lan ce wh i ch he brandishe d bright ,
W a s the sting o f a wasp h e had slain in ght
Sw i ft he bestrode h is r e y steed ;
He bare d his blade o f the bent grass blue ,
He drove his Spurs of cockle seed ,
And away like a glan ce o f thought h e ew
T O sk i m t he heavens an d follow fa r
The ery trail O f the r ocket star

The mot h y , as h e sh ot i n air,

C rept un der th e leaf , an d hid he r there ;
The katydid forgot its lay ,
The prowling gn at ed fast away ,
T h e fell mosquito checke d h is drone ,
And folde d his wings till the Fay was gone ;
And th e wily beetle droppe d his head ,
And fell on the ground a s if he we r e dead
-

94

IN T ER PR ET IV E

RE A D I N G

They crouche d them close in the darksome shade,

T h ey quaked all o er with awe and fear ,
For th ey had felt the blue bent blade ,
And wri t hed a t the prick O f th e e l n spear
M any a t i me o n a summer s n i ght ,
W he n the sky was clear and the moon was bright ,
They h ad been roused from the h aunted ground
By th e yel p an d bay o f t h e fairy houn d ;
They h ad h eard the tiny bugle h orn,
They h ad heard the tw a ng O f th e maize silk string
W hen the vine tw i g b o w s were tightly drawn ,
A nd the needle sh aft t hr o ugh air was borne ,
Fe a there d with do wn Of th e hum bird s wing ;
And now they dee m e d the courier O uph e
Some hunter sprite Of the e ln ground ,
And they watched till they sa w him mount th e r oof
Th at canopie s th e world aroun d ;
Then glad they left their covert lair ,
And f r eake d ab out in th e midnight air
J O S E PH R O D M AN D RA K E

D I VI SI O N

II

C HA P T E R I V
Rh y th m

M ov e m

e nt

in speech is the more o r less r e g ular r ecurrence

of accen t o r i m puls es Of the voice
In music and in lyri c
poetry , these impu l ses occur a t regular in t ervals ; but in
other f Or m s o f p oe t ry and in prose , the rh yt h m ic m ovement
is less m arked R hy t hm is o ne o f the beau t ies o f litera
ture, an d must be he ard to be apprec i ated R ead aloud
frequently B ring o u t th e music o f t he rhythm , but avoid
sing song r e ading M odulate the voice so t hat it will in
t e r p re t the music as well as the thought o f li t erature
The r ate , o r move m ent , o f rea di ng varie s with th e cha r
acter o f the literature
If solemn o r grave , the movement
is slow ; if gay o r excit i ng , the m ovement is rapid The
m ovement shoul d vary as th e th ought o r emotion varies
R hythm ,

C E C I LI A S D A Y
From h armony , from h eavenly h armony,
This univers al frame be gan :
W hen n ature underneath a heap
O f j arrin g atoms lay ,
And could not he ave her head ,
T h e tuneful voice was heard from high ,
A rise , ye more than de ad
The cold , and hot , and m oist , an d dry ,
I n order to their stations leap ,
A nd M usic s p ower O bey
Se e La ni e r s S c i e n c e o f E ng l i sh V e rse
ODE

O N ST

96

INT ERP RE TI VE

R EAD ING

Fr om har mony , f r om h eavenly h armony ,

This universal f r ame beg a n :
From ha rmony to h armo ny
Th r ough all th e compass o f th e notes it r a n,
T h e diap ason closing full in M a n
.

II

Wh at passion cannot M usic r aise and quell ?

W hen Jubal struck th e cho r ded shell ,
Hi s listening brethren s t ood around
And w onder i n g , o n their face s fell
To worship th at cele stial sound
Le ss than a Go d they thought there could not dwe l l
W ithin the hollow o f that shell ,
That spoke so sweetly and s o well
W h at p assion cannot M usic r ais e an d quell ?
,

II I

The trumpet s loud clango r

E xcites u s to a rms ,
W ith sh r ill notes of ange r
And mo r tal alarms
The double double double beat
O f the th un der i ng drum
C r ies , hark ! the foes come ;

C h a r ge , ch a r ge , tis too late to r et r e a t

.

IV

Th e s oft complain ing ute

I n dy i n g note s discovers
The woes of hopeless lovers ,
W h ose dirge i s whispe r e d by the warblin g l ute

RHYT HM , M O V E MENT

97

violin s proclai m
Thei r j ealou s pangs , and despe r ati on ,
Fury, fr a ntic in dign ation ,
D epth o f p ains , and height o f p assion,
Fo r the fair , di s dain ful , dame
Sha r p

VI

! w hat

art can teach ,

What human voice can re ach ,
The s acred organ s praise ?
Note s inspiring holy love ,
Note s that wing the i r heavenly ways
To men d the ch oirs above
But

Oh

V II

O r pheus

could lead the savage r ace ;

And t r ee s u p rooted left their place ,
Sequacious of the lyre
But bright C ecilia raised the wonde r high e r :
W hen to her organ vocal breath was given ,
An angel he ar d , an d straight appeare d
M istakin g earth for heaven
.

Gr a nd C h or us

As

from the p owe r o f sac r e d lays

The sphe r es began to move ,

A nd sun g the great C reator s p r ai se

To all the ble sse d above ;
SO when the last and dre adful h ou r
This c r umbling pageant shall de vou r
The trumpet shall be he a r d on h igh ,
T h e dead sh all live , th e livin g die ,
And M usic sh all untune the sky
J OH N
.

D RY D EN

INT ER P RE TI VE RE AD ING

98

C O ME

IN T O

T H E G AR D E N
1

into the garden , M aud ,

Fo r the bla c k bat , night , has own ,
C ome into the garden , M aud ,
I am h ere at the gate alone ;
And t h e wo odbine spice s are wafted abroad,
And the musk o f the rose s blown
C ome

For a breeze o f mornin g move s ,

And th e planet o f Love is o n high ,
B eginning to faint in the l i ght th at sh e love s
O n a bed of daffodil sky ,
To faint in the light of the sun she loves,
T o fai nt in his light , an d to die
.

All

night h ave the roses heard

The ute , violin , bassoon ;

Al l night has the casement j essamine sti rr d

T o the dancers danc i n g i n tune ;
Til l a silence fell with the wakin g bird ,
And a hus h with th e settin g moon
.

I said to the lily , There is but one

W ith wh om sh e has heart to be gay
W hen will the dancers leave her alone ?

Sh e i s weary o f dance a nd play

N o w h alf to th e set t i ng moon are gone ,
A nd h al f to the rising day ;
L o w o n the s and and loud o n the ston e
The last wheel echoe s away
.

R HYT HM ,

M O VE M E NT
5

s aid to the r ose , T h e brief night goes

In babble and revel an d w ine
0 youn g lord lover , wha t sighs are th ose ,
Fo r o ne t hat will never be thine ?

But mine , but mine , so I sware to th e r ose ,

Fo r eve r an d ever , mine

.

6
0

And

the s oul o f t h e rose went into my blood ,

A s th e music clashe d in t he hall ;
A nd long by the garden lake I stood ,
Fo r I he ard your ri v ulet fall
From the lake to t h e me adow and on to the wo od ,
O ur wo od , that i s dearer than all ;
'

From th e meadow your walks hav e left so sweet

That whene v er a M arch wind sighs
He sets th e j ewel print of your feet
In violets blue a s your eye s ,
T o the woody hollows in which we meet
And the valleys of Paradise
-

Th e

slende r acacia would n ot s h ake

O ne lon g milk bloom o n t h e tree ;
The wh ite lake blossom fell into the lake ,
A s the pim p ernel dozed o n the le a ;
But the rose was awake all night for you r sake ,
K no w ing your promise to me ;
The lilie s an d rose s were a l l awake ,

T h ey sigh d for the dawn an d thee

-

99

IN T ERP RETI VE RE AD IN G

100

Q uee n r ose

of

the r osebud ga r den o f girls ,

C ome hither , the dances are done ,
In glos s Of satin and glimmer o f pearls ,
Q ueen lily and rose in o ne ;
Shine out , little he ad , sunnin g over with curls ,
T o the owers, an d be their su n
.

10
.

The r e h as falle n a splendid t e a r ,

From the p assion o w e r at the gate
S h e is coming , my love , my de ar ,
She is coming my l i fe , my fate ;
The red rose c r i e s
S h e i s ne a r sh e is near

And t h e white r o se wee p s

S h e i s late ;

The larkspur listens

I hear , I hear ;

A nd the lily whis p ers , I wait

-

11

S h e is comin g , my o w n, my sweet ;
W ere it ever so airy a trea d ,
M y heart would hear her an d beat,
W ere it earth in an earthy bed ;
M y dust would hear her and beat ,
Ha d I lain for a century dead ;
W ould start a nd tremble under her feet ,
A nd bloss om i n purple and r e d
.

A L F R ED

T H E C H AR M S

OF

T E NN Y S O N

R U RAL LIF E

occupation there is noth ing me an and debasin g

I t leads a man forth among scenes o f natural grandeur and
beauty ; it leaves him to th e w orkings o f hi s o wn m ind ,
operated upon by th e pu r est an d most elevatin g of exte r nal
I n ru r al

R HYT HM ,

101

M O VE M E NT

a man may be simple and r ough, but h e

c annot be vulgar T h e m an o f renement , therefore , nds
nothing revoltin g in an intercourse with the lower orders
in r ural life , as h e doe s when h e casual l y mingle s with th e
lower orders o f citie s He lays a si de his dis t ance and r e
serve , and i s glad to w aive the disti n ctions o f rank , an d t o
enter in t o the h onest , he artfelt enj oyments o f co m mon life
Indeed , t he very amusemen t s o f the country bring men
more and more to gether ; and the soun d Of hound and horn
blend all feelings into h armony I believe this is o ne great
reaso nwhy th e nobility and gentry are more pop ular among
the inferior orders in En gland than they are in any other
country ; and why t he latter h ave endured so m any e x c e s
sive pre ssure s and extremities , without re p ining more gen
e r a ll y at th e unequal distribution o f for t une and privilege
T o this m i ngling of cultivate d and rustic society m a y als o
be attribute d th e rural feelin g t hat runs through B ri t is h
literature ; the frequent u se o f illustration s from rural life ;
those in comparable de scription s o f nature that abound

in the B ritish poets , that h ave continue d down fr o m The

Flowe r an d the Leaf Of C haucer , an d have brought into

o u r closets all the fres h ness an d fragran ce o f the dewy
landscape
The pastoral writers o f other countries appe ar
as if they had paid n at ure an occasional visit , and be come
acquainte d with her general ch arms ; but th e B ritish p oets
h ave lived an d revelle d with her they have wooe d her i n
her most secret haunts they h ave watched her m i nutest
caprices A spray could not tremble i n th e breeze a le af
could not rustle to the g r ound a diamon d drop could n ot
patter in the stream a fr a gran ce could not exhale from t h e
humble violet , nor a daisy unfold its crims on tints to the
morning , but it h as been notice d by thes e impassioned a nd
delicate observe r s , an d wrough t up into s ome beautiful
morality
i nuences

Such
.

INT ER P RE TI VE RE A D I N G

102

T h e e ffect o f this devotion o f elegant minds to rural o c

c up a t i o ns h as bee n wonderful O n the face of the country
A gre at part o f the island is rather level , an d would be
monoton ous were it no t fo r th e charm s o f culture : b ut it i s
stu dded an d gemmed , a s it were , with castles and p alaces ,
and embroidered with parks an d gardens
I t doe s n ot
abound in gran d and sublime prospects , but r athe r in litt le
home s cene s o f rural repose an d sheltered quiet E very
antique farm house an d m os s grown cottage is a picture :
and as the ro ads are continually win ding , and th e view is
shut in by grove s and h edge s , the eye i s delighted by a
continu al succe ssion o f small landscapes O f captivating
loveline ss
The gre at charm , h owever , of E n glis h scenery is the
moral feeling that seem s to pervade it I t is associate d i n
the mind with ideas of order , of quiet , o f s ober well e stab
l i she d principle s , o f h oary us age and r everen d custom
E very thing seem s to be th e growth o f age s of re gu lar an d
pe aceful existence
The o l d church of remote architecture ,
with its low , massive p ortal ; its gothic tower ; its windows
rich with tracery and p ainted glass , in s crupulous p r eserva
tion ; its stately monuments o f warriors an d wo r thies o f th e
Olden time , ance stors o f th e present lords o f th e soil ; its
tombstone s, r ecording successive generations o f sturdy ye o
manry , w h ose progeny still plough the s ame elds , and kneel
at the s am e altar the par s onage , a quaint irregular pile ,
partly antiquated , but repaire d and altere d i n the tastes of
various ages an d occupants the stile an d footpath lead
in g from the churchyard , acros s ple as ant elds , and along
sh ady hedge rows , according t o an immemorial r ight o f
way th e neighboring village , with its venerable cottages ,
its p ublic green sheltered by tree s , under which the fore
fathe r s o f the present race h ave sported the antique family
mansion standing apart in s ome little r ural domain , but
.

R HYT HM ,

M O VE M E NT

103

looking down wit h a protecting air o n the surroundin g

scene : all t hese comm on fe at ure s o f E nglish landscape
evin ce a calm and settle d securi t y , and hereditary trans
mission o f home bred virtue s and local attachments , that
speak deeply a nd touchingly for th e moral characte r O f the
nation
It i s a pleasin g sight o f a Sun day mornin g , when th e
bell is sendin
g i t s sober melody across th e quiet elds, to
behold th e peasantry in their best ne r y , wi th ruddy face s
an d modest c h e e r f l ne ss, thron ging tranqu i lly alon g the
green lanes to church ; but it is still m ore pleasing to se e
them in the evenings , gathering about their cottage doors ,
an d appearin g to exult in the humble comforts an d embel
l i sh m e nt s which their own h ands have spread aroun d them
It is this sweet h ome feeling , this settled repose of a ff e c
tion in th e domestic s cene , that is , after all , the parent o f
the ste adiest vi r tue s and pu r est enj oyments
.

W AS HIN GTON

F LO W G E NTLY S W EE T
,

IRVIN G

AFT O N

Flow gently , sweet Afton , amon g thy green braes ,

Flow gently , I ll sing th ee a song in thy p r aise ;

M y M ary s asleep by thy murmurin g stream ,

Flow gently , sweet A fton , disturb n ot he r dre am

Thou stock dove whose echo r es ounds thro the glen ,

Ye wil d whistlin g blackbirds in yon thorny den ,
Th ou green creste d lapwing thy screamin g forbear ,
I charge you disturb n ot my slumbering fai r
-

Ho w lofty , sweet A fton , thy neighborin g hills ,

Far marked with the course s of clear windin g r il ls ;
There daily I wander as mo rn r ise s h igh ,

M y ocks and my M ary s sweet cot in my eye

.

104

I N T ER P RE TI VE RE AD IN G

Ho w pleasant thy banks and g reen valleys below ,

W he r e wild in the woodlan ds the primroses blow ;
There o f t as mild evening c r eep s over the lea ,
The sweet scente d birk shade s my M ary and me
-

Thy crystal stre am , Afton , h ow lovely it glide s

A nd win d s by t he cot wh ere my M ary resides ;
Ho w w anton thy w aters her snowy fee t lave ,

A s gathe rin g sweet ow rets she s t ems thy cle ar wave

Flow gently , sweet Afton , among thy gree n braes ,

Flow gently , sweet river , th e theme O f my lays ;
M y M ary s asleep by thy murm u ring stream ,
Flow gently , sweet Afton , disturb no t her dream
R O B E R T BU R N S
LU C Y

dwelt among the untrodden way s

B eside the sprin gs of D ove ,
A maid wh om there were none to p r aise ,
And very few t o love
She

violet by a m ossy stone

Half hidden from th e eye !
Fair as a star , when only one
I s sh i ning in th e sky
.

lived unkn own , an d few could kno w

W hen Lucy ce ased t o be ;
But she is in h er grave , and , oh ,
The di ff e r ence to me !
W I LL I A M W O R D S W O R T H
She

LU C Y

Th ree yea r s she g r ew i n sun an d showe r ;

Then Natu r e said , A lovelier owe r

On e a r th was never sown :

R HY T HM ,

M O VE M E NT

This child I t o myself will take :

S h e sh all be m ine , and I will m ake

A lady O f my o wn
.

M yse l f will to my da r lin g be

B oth

law and impulse ; and with me

The girl , in rock and plai n ,
In e arth and he aven , i n glade an d bowe r ,
Shall feel an overseeing p ower
T O kin dl e 0r res t rain
.

S h e shall be Sportive as the fawn ,

That wild with glee acro s s the law n
O r up the m ountain sprin gs ;
And he r s shall be the breathing bal m ,
And hers the silence and th e calm
O f mute insensate things
.

The oating clouds their state shall lend

To he r ; for he r th e willow bend ;
Nor sh all sh e fail to s ee
E en i n the motions o f the sto r m

G r ace that sh all m ould th e maiden 5 fo r m

By silent symp athy

The sta r s o f midnight sh all be dea r

T o he r ; and sh e sh all lean he r e a r
In many a secret place
W here rivulets dance their wayward r oun d,
And beauty born O f murmu r in g sound
Sh all pass into her face
.

And

vital feelings Of deligh t

Sh all re ar her form t o stately heigh t,
He r vi r gin b osom swell ;

105

106

INT ER P RE TI VE RE A D IN G
Suc h

t h oug h ts to Lucy I will give

W hile sh e and I together live

Here in this h appy dell

.

Thus Nature spake

T h e wo r k was done
Ho w soon my Lucy s race was run !
She die d , and left to me
This h e ath , this calm an d quiet scene ;
The memory o f what has been
And never more will be
W I L L I AM W O RD S W O R TH
.

TO A

S KY LA R K

Ha il to th ee , blithe Spirit !
B ird thou never wert ,
That from heaven , o r near it
Po ur e st thy full h e a r t
In p r ofuse strain s o f unpremeditate d a r t

Higher still , and highe r ,

From the e arth thou sp r i nge st
Lik e a cloud o f re ;
The blue deep thou wi nge st ,
And s inging still dost soar , an d soar i ng ever , si nge st
III

In the

golden lightning
O f the sunken sun,

O er which clouds are brighten i ng,

Thou dost oat and run ,
L i ke a n embodied j oy whose r ace is j ust begun

R HYT HM

M O VE M E N T
IV

107

The pale purple even

M e l t s around thy ight ;
L ike a star o f he aven ,
In the broad daylight
Thou a r t unseen , but yet I he ar thy shrill delig h t

V II

W h a t t ho u art we know no t ;
Wh at is most like thee ?
From rainbow clouds there o w not
D rops so bright to se e ,
A s from thy presence sho w ers a rain o f melody
,

V III

Like a poet hidden

In th e ligh t Of thought ,
Sin ging hymns unbidden
Till the world is wrought
sympathy wi t h hopes an d fears i t he e d e th not ;
,

To

XIII
Te ach us , sprite o r bird ,
W hat sweet thoughts a re thine :
I have never heard
Prai se of lo v e o r wine
T h at p a nte d forth a ood o f rap ture so divine
.

XI V
C horu s hymeneal ,
O r t r i umph al chant ,
M atched w i t h th i ne would be all
B u t an empty vaunt
A thing wherein we feel th e r e is some hidden want
.

108

INT ER P RE TI VE RE A D IN G
XV

W h at obj e cts are th e fountain s

O f thy happy strain ?
W hat elds , or wave s , or mountain s ?
W hat shape s o f sky o r plain ?
W hat love of thine own kind ? W hat ignorance of p a i n ?
XV I I

W aking or asleep ,
Thou o f de ath must deem
Things m ore true and deep
Than we mortals dream ,
Or h ow could thy note s ow in such a crystal st re am ?
XV III

W e look befo r e and after ,

And pine fo r what i s n ot :
O u r sinceres t laughter
W ith some p ain is f r aug h t ;
O u r sweetest s ongs are those th at tell o f s addest though t

XI X
Yet if we could scorn
Hate , an d p r ide , an d fea r ;
If we w ere things born
Not to she d a t e a r ,
n ot how thy j oy we ever should come
.

I know

ne a r

B etter

than all measure s

O f delightful s oun d ,
B etter than all treasu r es ,
T h at in books are found ,
T hy skill t o p oet we r e , thou scorner o f t h e g r oun d !
PE R C Y BY S S H E SH E L LEY

DI V I S I ON

II

C HA P T E R V
P e r s o na t i o n

is the interpretation o f cha r acte r

T h e study Of p e rSo na t i o n should begin with lif e stu dy
Study s om e person , noting his voice , manner Of speech ,
gestures , vocabulary habits o f thought , etc Try to r e p r e
sent Or interpret th i s ch aracter for several minu t es , preserv
ing th e c haracter assumed until a clas s has time to analyze
it Study a character in literature
Study it from every
point O f view M emorize the line s th at the character
speaks , imagine yourself th e character , then act and speak
a s y o u think he would
I nterp r etation o f th e g r eat drama calls f o r creative powe r
Pe r sonation

SEL ECTI ON S

T H E R IVAL S
ACT

n Absolu te
Cap ta z

N ow

S C EN E

for a parental lectu r e

n
E
t
er Si r Ant h o ny Abs olu te
(

)
Si r , I am delighted t o s ee you here , a nd looking so well !
You r sudden arrival at B ath made me apprehensive for your
health
V ery apprehen sive , I dare sa y, Jack Wh at ,
Si r Au th
you are recruiting here , hey ?
Ye s , Sir , I am o n duty
Abs
W ell , Jack , I am glad to see you , though I
Si r Anth
.

INT ER P RET I V E

110

R EA D IN G

did n ot expect it , f o r I was going to write you on a little

matte r o f busine ss
Jack , I have been considering that I
grow o l d a nd inrm , an d shall prob ably n ot trouble you
long
Abs
P ardon me , si r , I neve r sa w you look more st r ong
and hear ty and I pray frequen t ly that you may continue so
I h ope your prayers may be hea r d , with all
S i r Au th
m y heart
W ell , then , Jack , I have been considerin g th at
I am so strong an d he arty I may continue to plague y o u a
lon g tim e
N ow , Jack, I am sensible that the income o f
your commission, and what I hav e hitherto allowed you , is
but a small pittance for a lad o f your spirit
Abs
Si r , y o u a re very good
And it is my wish , while yet I live , to h ave
Si r Anth
my b oy m ake s ome gure i n the world ; I h ave resolved ,
therefore , to x you at once in a noble independence
Abs
Si r , you r kindne ss over p owers me
such generosity
makes th e gratitude O f reason more lively than the sensa
tions even o f lial aff ection
I am glad you a re so sensible o f my atten
Si r Au t h
tion an d y o u shall be master of a large estate in a few
weeks
Let my futu r e life , sir , speak my gratitude ; I
Abs
cannot expre s s the sense I h ave o f your m uni c e nc e
Yet,
sir , I presum e y o u would not wish me to quit th e army ?
t
O h , that shall be as your wife chooses
Si r Ant/
Abs
M y wif e , sir !
Ay, a y , settle th at between you settle that
Si r Anth
between y ou
A wife si r , did you say ?
Abs
Ay , a wife why , did not I mention h e r b e
Si r Au th
fore ?
Abs
N o t a word O f h er , sir

t
I mustn t forget he r , though
O dd so
Si r Ant/
.

P ER S O NATI O N

1 11

Yes , Jack , the independence I was tal kin g o f is by a mar

the fortune is saddled with a wife but I supp ose
r i a ge
that makes n o d i fference
Abs
Si r ! si r ! you am aze me !
W hy wh at the devil s the mat ter wit h the
S i r Au t h
fool ? Just now you were all gratitude an d du t y
I w a s, sir , y o u talked to me o f indepen dence and
Abs
a for t une , but n ot a word of a wife
what d i fference d o e s that make ?
S i r Au t h
Why
O dds life sir ! if yo u have the e state , y o u must take i t
with the live stock on it , as it stands
If my happiness i s to be the price , I must beg
Abs
leave to decline the purchas e Pray , si r , who is th e lady ?

W h at s that to y o u , si r ? C ome , give me

Si r A u t h
your promise t o love , and to marry her directly
Abs
Sure , si r , this is not very reason able , to summon
my aff ections for a lady I know n oth i ng Of !
I a m sure , sir , tis more unre asonable in you
Si r Au th
to Obj ect to a lady you kn o w no t hin g Of
You must excuse me , si r , if I tell yo u , once fo r
Abs
all , th at in this p oint I ca nnot obey you
Hark ee , Jack ; I h ave heard y o u for s ome
Si r Anth
tim e with p atience I have been cool quite cool ; but take
care yo u know I am co m pl i an ce itself when I am no t
thwarted
no one more easily led when I hav e my own
way
but don t put me i n a frenzy
Abs
Si r , I must repe at i t in this I cannot obey you
Bu t hear me
Si r , I won t hear a word no t a word ! not
Si r Au t h
one word ! so give me your promise by a nod ; an d I ll tell
you wh at , Jack I mean , you dog i f you don t , b y
Abs
W hat , si r , promise to link myself to some mass
O f u gliness ! t o
! ounds ! sirrah ! the lady sh all be as ugly as
Si r Au th

'

INT ER P RET I VE RE A D IN G

112

choose : she shall h ave a h ump o n each shoulder ; s h e

shall be as crooke d as the C rescent ; her o ne eye sh all roll
like the bull s in C ox s M useum ; she shall have a skin like
a mummy , and the beard o f a J e w sh e sh all be all this ,
sirr ah ! yet I wil l make you ogle her all day , and si t up
nights t o write sonnets o n her be auty
Abs
This i s reason and moderat i on indee d !
None Of your sneerin g , puppy ; no grinning
Si r Au th
j ack anapes !
Abs
I ndeed , si r , I never was in a w orse humour for
mirth in my life

Tis false , si r , I know you are laughing in

Si r A u th
your sleeve ; I know you ll grin when I am gone sirrah !
Abs
Si r , I h Op e I know my duty better
None o f your p as sion , si r ! n one o f your vio
Si r Ant h
lence , if y o u ple ase
I t won t do with me , I promise y ou
Abs
Indee d , si r , I never was cooler in my life

Tis a confounde d lie l I know you are in a

Si r Au th
passion in your heart ; I know you are , you hypocritical
young dog ! but it won t do
Abs
Nay , si r , upon my word
SO y o u will y o u t ! can t you be cool like
Si r Au th
me ? W h at the devil good can passion d o ? Passion is of
no service , you impuden t i nsbl e nt , o verbearin g reprobate !
T h e r e , y o u sneer again ! don t provoke me ! but yo u r ely
upon the mildnes s o f my te m per y o u do , y o u d o g l yo u
play upon th e meeknes s o f my dispos i tion ! Yet take care
the p atience Of a s aint may be overcome at last ! but
m ark ! I give yo u si x hours and a h al f to consider of this r
if you then agree , with out any condi t ion , to do everything
o n e arth that I choo se , why
confound you ! I may i n
time forgive you !
E
x i t Si r Ant h o ny
!
I kiss you r
Abs
M ild , gentle , considerate father !
hands !

P ER S O NATI ON
n
t
E
er F a g
(

113

sir , your father is w r at h to a deg ree ;

h e comes down stairs eight or ten step s at a time mutter
i ng , growling , and thumping the banisters all th e way : I
and th e cook s dog stand bowin g at t he door rap ! h e gi ves
me a stroke o n the head with his cane ; bids me car ry that
t o my master? U p on my credit , sir , were I in your place ,
an d found my father such very bad company , I should
certainly drop his abqua i nt a nc e
D i d yo u
Abs
C e ase your impert i nence , si r , at present
come i n f o r nothing more ? Stan d o u t of th e way !
Fa g

A ssu r edly ,

! P u s hes h i m

a s i d e, a

nd

ex i t

Si r A nthony

trims my master ; he is afraid

to reply to his father then vents his spleen o n p oor Fag !
W hen o ne is vexe d by o ne person , to revenge o ne 3 self on
anothe r , wh o happens to come in the way , i s the vilest i n
j ustice ! Ah , i t shows th e wor m: temper the basest
Fa g

Soh l

E
n
t
er E r r a nd B oy
(

)
M r Fag ! M r Fa g ! Your master calls you
B oy
Fa g
W ell , y o u little dirty puppy , you nee d no t bawl
The meanest disposition ! th e
so !
B oy
Q uick , quick M r Fag !
Fa g
Q uick ! quick ! yo u impude nt j ackanape s ! am I
to he commanded by yo u too ? yo u little i mpertinent , i n
solen t , kitchen bre d
R I C H AR D B R I N S L E Y SH E R ID A N
.

T H E R I V AL S
AC T

III S C ENE I
,

E
n
t
er C a p ta i n Abs o lu te
(

Tis just as Fag t o ld me , indeed

W h i msical
enough , faith ! M y father wants to force me to marry the
Abs

INT E R PR E TI V E RE A D IN G

114

very gi r l I am plotting to run aw ay with ! He must not

know o f my connection with her y e t awhile He has t o o
sum mary a method of p roceeding in the se matters Ho w
ever , I ll read my recan t ation i n stantly M y conversion i s
s omething sudden , in deed but I can assure him it is very
sincere
SO , so here h e comes
He looks plaguy gru ff
.

t
e s
S
! p

n
E
t
er S i r Anth ony Abs o lu te
(

Si r Au th

a si d e

No I ll die s ooner t han forgive hi m

I ll live these fty years t o p l ague him
D i e , did I sa y ?
At o ur last meeting , h i s impudence h ad almost put me o ut
of tempe r
A n obstin at e passionate , self willed boy !

?
B ut I have done with him ; he s
W h o can h e take after
anybody s so n f o r me
I never will see h im more neve r
never never
Abs (a si d e , c o m i ng fo r wa r d ) N 0w f o r a p e ni t e nt i a l face
Fellow , get o ut of my w ay !
S i r Anth
Si r , you s ee a penitent before you
Abs
I se e an impudent scoundrel before me
S i r Au th
I am come , si r , to a c knowl
Abs
A sincere penitent
e dge my error , and to submit entirely t o your will
W hat s that ?
Si r Au th
I h ave been re volving , and reecting , and consider
Abs
in g o n your past goodne ss , an d kin dness , and condescension
to me
W ell , si r ?
Si r Anth
I hav e been likewise weighing an d balancing what
Abs
you were please d to mention concerning duty , an d obe di
ence , and auth ority
W ell , puppy ?
Si r Anth
Abs
Wh y, then, sir , t h e result o f my r eection s is a
i
res olution to sacrice eve r y i nc l i na t r n Of my own to y our
s atisfacti on

P ER S O NAT I O N

1 15

Wh y , no w y o u talk sense absolute sense I

never heard anyth ing more sen s i ble in my l i fe C onfoun d
you ! y o u shal l be Jack again
Abs
I am happy i n the appellat i on
W hy then J a ck , my dear Jack , I will now
Si r A u t h
inform you who th e l a dy re ally is
No t h ing but your
passi o n an d violence , yo u silly fellow , p reven ted my t e l l in g
you a t rst Prepare , Jack , for wonder and rapture pre
p are
W hat th i nk you o f M is s Lyd i a L anguish ?
L an guish ! W hat , the L anguishe s of W orcester
Abs
sh ire ?
D i d you never meet
W orce stershire ! no
Si r Au th
M r s M alaprop an d her niece , M iss L anguish, wh o came
into o u r country j ust before you were last ordere d to your
r egim en t ?
Abs
M al a prop ! L an guish ! I don t remembe r ever
to h ave he ard t h e names before
Yet , stay I th i nk I do
r ecollect something L an guish ! L an guish ! She squ i nts ,
don t sh e ? A li t tle red ha i re d girl ?
A re d h aired girl ! ! ounds ! n o !
Squ i n t s !
S i r Au t h
Then I must h ave forgot ; it can t be the s ame
Abs
person
Jack ! Jack ! W h at th i nk you O f bloomin g ,
Si r Au t h
love breathing seventeen ?
A s to that , sir , I am quite indiff erent
Abs
If I can
ple ase you in th e m att er , t i s a l l I de s i re
N ay , b ut Jack , such eyes ! such eye s ! so i h
Si r Au th
nocen t ly wild ! so bashfully irre s o lute ! N o t a glan c e but
speaks and kindles s o me thought o f love ! Then , Jack , her
chee ks ! h er cheeks , Jack !
Abs That s sh e , indeed
W ell done , old gentlem an
Si r Au th

! Asi d e
Then Jack her neck ! 0 Jack ! Jack !
Si r Au th
Abs
And which i s to be mine , si r , th e niece o r t h e au nt ?
.

RE A D IN G

I NT E R PR E T I V E

116

W hy , y o u unfeeling insensible puppy , I de

spise you ! The aunt , indeed ! B u t , Jack , y o u are not
sorry to nd your mistre ss i s so be autiful ?
A bs
Si r , I repeat i t i f I please you in this aff air , tis
all I desire
N ot th at I think a w o m a n th e w orse for being
h an dsome ; but , si r , if you p l ease to recollect , you before
hinted something about a b um p o r t wo , o ne eye , and a few
more graces o f that kin d Now , without being very nice ,
I own I should rat her choose a wife O f mine t o hav e th e
usual nu m ber o f l i mbs , and a lim ited quantity Of back ; and
though o ne eye may be very agreeable , yet as the prejudice
has always run i n favor of t w o , I would n ot wish to a ff ect
a singularity in that art i cle

Si r Au th
W hy , sirrah ! you re an ancho r ite ! a vile ,
insensible stock ! Yo u a sold i er ! yo u re a w alkin g block ,
t only to dus t th e comp any s r egimentals o n ! O dds life !
I h ave a great mind to m arry the girl myself !
Abs
I am entirely at your disposal , sir : if you s h ould
think Of addressing M is s L anguish yourself, I supp ose y ou
w ould have me ma r ry th e aunt ; o r if you should change

your mind , and take th e o l d lady tis the s ame to me I ll

marry th e niece

U pon my word , Jack , th o u r t either a very

Si r Au th
great hypocrite , o r but , come , I know your indifference on
such a subj ect mu st be all a lie I m sure it mu st come ,
now come , confe ss , Jack you have been lying h a n t
?
n
t
h
!
u
You
h
ave
been
layi
g
e
hypocrite
hey
I ll
o
p
y
never forgive you , if you ha n t been lying an d playing th e
hyp ocrite

I m sorry , sir , th at th e r espect and duty w h ich I

Abs
bear to you sh ould be so mistaken
B ut come
Hang your r espect and duty !
Si r Au th
along with me , I ll write a note to M r s M alaprop , and
you shall visit t h e lady directly He r eye s s h all be the
S i r Auth

PER S O NATI O N

117

torc h t o y o u come along I l l neve r forgive

u , if you don t come back sta r k mad with rap t ure
o
if
y
y o u don t , egad , I will marry th e girl myself !
R I CH AR D B R I N S LE Y S H E R I D A N
Promet h ean

AS

LIK E

YOU

ACT

I S C E NE
.

n
t
er Cel i a
E
(

IT

111

nd R osa l i nd

)
R os alind !
.

W hy Cousin ! why ,
C upid h ave
mercy ! not a w ord ?
R osa li nd
No t one to throw at a d o g
N O , thy words a re too precious to be cast away
Cel
up on curs ; throw some of them at me ; come , lame me with
r easons
Then th ere w ere two cousin s lai d up ; when th e
R os
one should be lame d with r eason s a nd th e other mad with
o ut any
?
is
all
this
for
your
father
B
u
t
C el
0, how
N o , some o f i t is for my ch i ld s father
R os
full o f briers i s this working day wor l d !
They a re but burs cousin , thrown upon t hee in
Ce l
holiday foolery : if w e walk n ot in th e trodden paths our
very petticoats will catch them
I could sh ake them Off my coat : these burs are in
R os
my heart
He m them away
Ce l
I would try , if I could cry hem and h ave him
R os
C ome , co m e , w restle w ith thy a ffection s
Ce l
R os
0, they take the p art Of a bet t er wrestler than
myself !
O , a good wish u p on y o u !
You will try in time
Cel
in despite Of a fall But turni ng these j ests o u t Of service ,
let us talk i n good earnest : i s i t pos sible , on such a su d
C e li a

IN T ER P RET I VE READ ING

118

den , you should fall into so stron g a liking wit h old Si r

R owl and s youngest so n?
The D uke my father loved his fathe r de arly
R os
D o t h it t heref o re ensue t h a t you sh ould love hi s
C el
By this k i nd o f ch a se I should hate h im , for
so n dearly ?
my fa th er h a te d his father dearly ; yet I h a te not O rlando
R os
N o , faith , h ate him not for my sake
W hy should I n ot ? do t h he n ot de serve well ?
Cel
R os
Let me love him for that , and do yo u love hi m
because I do
L ook , here comes th e D uke
Cel
W ith his eye s full o f anger
'

E
n
t
e r D u ke F r e d er i c k, w i th L o r d s
(
D u ke

M istress , dispatch y o u

And

get you from our court

R os
M e , uncle ?

)
with you r s afest h aste
.

uke

Yo u , cousin :

W ithin the se ten days if t hat th ou be st fo un d

SO near our public court as twenty miles ,
Thou diest for it
I do beseech your Grace ,
R os
Let me the knowledge o f my fault bear with me :
I f with myself I hold intel l i gence ,
O r hav e acquaint ance with mine o w n desire s ;
If that I do no t dream , o r be no t frantic ,
A s I do trust I am not , then , dear uncle ,
Never so much as i n a th ought unborn
D i d I offend your Highness
Thus d o all traitors ;
D u ke
I f their p urgation did consist in w ords ,
They are as innocent as grace i tse l f :
Let it sufce t hee that I trust thee not
Yet your mistru st c a nno t m ake me a traito r :
R os
Tell me whereon th e lik elihood depends

P ER S O NA T I O N

119

Thou a r t thy fathe r s daughter ; the r e s enough

R os
SO was I when your Hi ghnes s took his duke dom ;
So was I when your H i ghnes s banish d him :
Treason is not inh erited my l o rd ;
O r , if w e did derive it from o ur friends ,
Wh at s that to me ? my father w as n o traito r :
Then , good my liege , mistake me not so much
To t h i nk m ypoverty is treacherous
D e a r s o ve r eign hear me speak
Ce l
A y , C e l i a ; w e st a y d h er for you r s a ke,
D u ke
E lse had sh e with her fat her ranged alon g
I did not then entreat to h ave her stay ;
C el
I t was your pleasure and your o w n remorse :
I was too youn g th at t i me to v alue her ;
But now I know he r : if sh e be a traito r ,
W hy so am I ; w e still have slept together ,
R ose at an instant , l e a r n d , p l a y d , e at togethe r ,
And w h e r e so e er we went, like Juno s swan s ,
St i ll we went coupled and insep arable
D u ke
Sh e is too subtle for thee ; an d h er smoot h
ness ,
He r very silence and h er p atience ,
Spe ak to the pe ople , an d they pity he r
Thou art a fool : she robs thee o f thy name ;
A nd thou wilt sh ow more bright and seem mo r e virtuous
W hen she is gone
Then open not thy l i p s :
Firm and irrevocable i s my doom
W hich I h ave p a ss d upon her ; sh e is b a ni sh d
Ce l
Pronounce that sentence then o n me , my liege :
I cannot live out of her company
You are a fool Yo u , niece , p r ovide yourself :
D u ke
If you outstay t h e time , upon m ine hon our ,
And in th e greatness o f m y word you die
D u ke

E
x e u nt D u lce Fr e d e r i c k
!

nd L o r ds

I NT E RPR E T I V E R E A D I N G

120

my poor R osalind , whithe r wilt thou go ?

W ilt t h ou change fathers ? I will give thee mine
I cha r ge thee , be not th ou more grieved th a n I am
I hav e more cause
R os
Thou h ast no t , cou sin ;
Ce l
Prithee , be cheerful : kno w st th ou no t , th e D uke
Hath b anished me , his daughter ?
R os
That h e h ath no t
N O , hath no t ? R osalin d lacks then t h e love
Cel
W hich teacheth thee th at thou and I are o ne :
Shall we be sund e r d ? sh all we part , sweet girl ?
N o : let my fathe r seek another heir
Therefore devise with me h ow we may y ,
W hither to go , an d wh at to be ar with us ;
A nd do no t seek to take the change up on you ,
T O bear your griefs yourself an d leave me out ;
Fo r , by this heaven , now at o u r s orrows pale ,
Sa y what thou can st , I ll go along with thee
R os
Wh y , whi t he r sh all we go ?
T O seek my uncle in the forest o f A r den
C el
A las , what danger will it be to us ,
R os
M aids as we a r e , t o travel forth so far !
B eauty provoketh thieve s sooner than gold
I ll put myself in poor and me an atti r e
Cel
And with a kind o f umber smirch my face ;
The like do y o u : s o sh all we pass along
And never stir assailants
R os
W ere it not bette r,
B ecause that I am more than common tall ,
That I did suit me all p oints like a m an ?
A gallant c u r tl e axe u p on my thigh
A boar spe ar in my han d ; and i n my hea r t
Lie th ere wh at hidden w oman s fear th ere will
W e ll have a swashing and a martial outside ,
C ol

P ER S O NA T I O N

121

As

many othe r mannish cowards h ave

That do outface it with their semblances
Ce l
What shall I call thee when thou a r t a man ?
I ll have n o w orse a name than Jove s own page ;
R os
And t h erefore look y o u call me Ganymede
B ut wh at will yo u be call d ?
Ce l
Someth ing that hath a reference to my state :
N o longe r C elia , but A liena
R os
But , cousin , what if we a ssa y d to steal
The clownish fool out of your father s court ?
W ould he not be a comfort t o our travel ?
He ll go along o e r th e wide world with me ;
Ce l
Le ave me alone to w o o him
Let s away ,
And get o u r j ewels and o ur wealth togethe r ;
D evise th e ttest time an d s afest w ay
To hide us from pursuit that will be made
A fte r my ight
N ow go we in content
To libe r ty and not t o banishment
W I LL I A M SH A K E S P E AR E
.

AS

AC T

LI KE

Y OU

V S C EN E
.

E
n
e r T o u c hs t o ne
t
(
Touc h

Aud r ey
Au d

T HE
a

IT

F O RE S T

nd Au d r ey

W e Sh a ll nd a time , Audrey ; p atience , gentle

Faith , th e priest was good enough , for all the o l d

gentleman s sayings
T ou c h
A most wicked Si r O liver , A udrey , a most v ile
M a r text ! B ut , A udrey there is a youth here in th e forest
lays claim to yo u

Au d
Ay , I kn ow who t i s : he hath no interest in me
in the wo rld : h ere comes the man you me an
.

122

INT ER P RE TI VE RE AD IN G
E
n
t
er Wi l li a m
(

T ouch

It i s

me at an d dr i nk to me to se e a clown:
by m y troth , we that h ave g o od wits h ave much to a n
swer for ; we shall be ou t in g ; w e cannot h old
Wi ll
G ood e v e n A udrey
Au d
Go d ye good even , W illiam
A nd good even to y o u , sir
Wi ll
T ouch
G ood even , gentle frien d
C over thy head ,
cover thy head ; nay , pr i thee , be covere d Ho w old are
you , friend ?
Five an d twenty , Sir
Wi ll
T ou c h
A ripe age
Is t hy n am e W illi am ?
Wi ll W illiam , s i r
Tou ch
A fair name
W ast born i the fo r e st h e r e ?
Wi ll Ay , S i r , I thank Go d
Thank Go d
a good answe r Ar t rich ?
T o uc h
Fai t h , si r , so so
Wi ll

is good , very good , very excellent

T ou c h
So s o
A r t thou wise ?
good ; an d yet it is not ; it is but so so
Ay , Si r , I h ave a pretty wit
Wi ll
I do now remember a
T o uc h
Wh y , thou s ayest well

sayin g , The fool doth think h e is wise , but the wise m an

knows himself to be a fool

T h e h eathen philosopher ,
when he h ad a des i re to e at a grape , would open his lips
when he put it into his mouth ; meaning thereby th at
grapes were made to e at and lips to open
You do love
this maid ?
I do , si r
Wi ll
T ou c h
Ar t thou learned ?
G ive me your h and
Wi l l No , sir
Then le arn this of me : to have , is to h ave ; for
T ou c h
it is a gu r e in rhetoric that drink , being pou r ed o ut of a
cup into a glas s , by llin g the one doth empty th e other ;
.

P ER S O NATI O N

123

fo r all you r writers do consent that ipse is h e : now , you

are no t ipse , f or I am he
Wi l l W h i ch h e , si r ?
T o uc h
He , si r , that must m arry this w om an There
fore , y o u clown , abandon , which i s in th e vulgar leave ,
the society w hich in the bo o r i sh i s co m pany , o f this
fem al e
which i n the co m mon i s woman ; w hich together
i s, ab a ndo n th e soc i e t y o f this female , or , clown , thou
r i sh e st ; o r , to thy better underst a ndin g
d
i
est
e
r , to
o
;
p
'
wit I k i ll t hee, m etke thee away trans l a te thy life into
death , thy l i ber t y into bondage : I will deal in poison with
th ee , o r i n bastinado , o r in steel ; I w ill bandy with thee
in fact i on ; I will O e r r u n th ee wi t h p olicy ; I will kill t h ee
a hundre d and f t y w ays : therefore tremble, and dep art
D O , go o d W i l l iam
Au d
Wi ll G o d r e st you merry , si r
.

xi t
E
!

T ou c h

Trip ,

Au drey !

trip , Audrey ! I at t end , I atten d

E
x eu nt
!

W I LL I A M

S H A K E S P E AR E

S EL E C T I O N S

H AM LET S F IR S T S O LIL O Q U Y

O th at this too , too s o lid esh would melt,

Thaw, an d re s olve itself into a dew !

O r that the E verlas t in g had n ot x d

Hi s c a non gains t self slaughter ! O Go d ! 0 Go d !
Ho w weary , s tale , a t , and unprotable
S ee m t o m e all th e u ses of this world !

F i e o n t ! O e ! t i s an unweeded garden ,
Th at gro w s to seed ; th in gs r a nk and gross in nature
Th at i t S h o u l d c o me t o this !
Possess it merely
But two m onths dead ! n ay , not so much , not two :

IN T ER P RE TI VE RE A D ING

124
SO

excellent a king ; t h at was , to this ,

Hyperion to a satyr ; so loving to my mothe r
Th at he might not beteem th e winds Of h e av e n
V isit h er face too roughly
He aven and earth !
Let me no t think o n t Frailty , thy nam e is woman
A little month , o r ere those shoe s were O ld
W ith which sh e followed my poor father s b ody ,
Like N iobe , all tears , why sh e , even she ,
O Go d ! a beast , th at wants discourse o f reason ,
\Vo u ld h ave m o ur n d longer
marrie d with my uncle ,
M y fath er s brother , but n o mo re like my fathe r
Th an I to He r cules W ithin a month ?
.

It is not , nor it cannot come to good ;

But bre ak my hea r t, fo r I must hold my tongue
SH A K E S P E AR E
.

H AM LE T
AC T

I S C EN E
.

IV

T HE PLAT F O RM

E
n
t
er Ha m le t, Hor a ti o,
(

nd M a r c e llu s

The air bite s sh r ewdly ; it is ve r y cold

Ha m le t
H o r a ti o
It is a nipping and a n e a ger air
Ha m
W hat hour no w ?
Ho r
I think it lacks of twelve
Ha m
N O , it is struck
H or
Indeed ? I heard it n ot : it then draws nea r
.

se ason
W herein the Spirit held his wont to w alk
(A o u r i s h of

tr u m p e ts

nd

o r d na

nc e

the

s hot o

W h at doe s this me an , my lord ?

The king doth w ake t o night , an d takes his rouse ,
Ha m
K eep s wassail , an d the swaggering u p spring reels ;
And as h e dr ain s his d r aughts o f R h enish down ,
-

125

P ER S O NATI O N
T h e kettle drum and trumpet thus bray o ut
The triumph Of hi s pledge
H or
I s it a custom ?
Ha m
Ay , marry is t ;
But to my mind , though I am native h ere
And to the manner born , i t i s a cus t om
M ore honore d in the bre ach tha n the Obse r vance
This heavy heade d revel e ast and west
M ake s us traduced and t a x d o f other nation s :
They clepe u s drun ka rds , an d with swinish phrase
So i l o ur addi t ion ; and indeed it takes
From ou r achievements , though p e r f o r m d at height ,
The pith and marrow O f o u r attribute
SO , oft it chance s in particular m e n ,
That for some viciou s mole O f n ature in th e m ,
A s, in their birth wherein they a re not guilty ,
Sin ce nature cannot choose his origi n
By the o e r gr o w t h o f some complexion ,
O ft breaking down th e pales and forts o f re as on ,
O r by some h abit that t o o much o er lea vens
The form o f plausive m anners , that the se men ,
C arrying , I sa y the sta m p o f o ne defect ,
B ein g nature s li v ery , o r fortune 3 star
Their virtue s else b e they as pure as grace ,
A s innite as man may undergo
Shall in the general cen sure take corruption
From th at particular fault : th e dram Of e ale
D oth all the noble substance O f a doubt
T o his o wn scandal
Hor
L ook , my lord , it come s !
-

(Enter

Ghost

Angels and ministers Of g r ace defen d us

Ha m

Be thou a spirit of h e alth o r goblin d a m n d ,

.

INT ER P RE TI VE RE A D I N G

126

with th ee airs from heaven or blasts from hell ,

B e thy i ntents wicked or charitab l e ,
Th ou comest in such a quest i o nable sh ap e
That I will speak to thee : I ll call th ee H amlet,
K i ng , father ; royal D ane , 0 an s wer me !
Let m e not burst in ignorance ; but tell
W hy t hy canonize d bones , h e a r s e d in de at h ,
Have burst the i r cerements ; why the sepulchre ,
W herein we sa w th ee quietly i nurn d ,
Hath ope d his ponderous and m arble j aws ,
To cast thee up again
W hat m ay this me an,
Th at th ou , dead corse , again in co m plete steel

R evisi t st thu s the glimp ses o f the moon ,

M ak i n g night hide ous ; and we fools o f n ature
So horrid l y to sh ak e o u r disp osition
W i t h th oughts beyond th e reaches O f o ur souls ?
Sa y why i s this ? wherefore ? what should we do ?
h
os t bec ko ns Ha m l e t
G
!
Hor
I t beckons y o u to g o away with it,
A s if it s ome impartment did desire
T O y o u alone
Ma r
L ook , with what courteous action
I t wave s y o u to a more removed groun d :
B u t do n ot go with i t
Ho r
No , by n o means
Ha m
It will not Spe ak ; then I will follow i t
Hor
D O no t , my lor d
Ha m
Wh y , what should be the fea r ?
I do no t se t my life at a pin s fee ;
A nd fo r my s oul , what can it d o to that,
B eing a th i ng immortal as itself ?
I t w aves m e for t h again ; I ll follow it
Hor
W hat if it tempt y o u to w ard th e ood , my lord ,
O r to t h e dr e a d f ul summit o f the clif f
B rin g

P ER S O NATI O N

127

That beetle s o er his ba se into th e se a ,

A nd there assume some other horrib l e form ,
W hich might deprive your s o vereign ty Of reason
And draw y o u in t o madness ? think o f it ;
The very place puts toys o f desperat ion ,
W ithout m ore motive , in t o every brain
That looks so many fathoms to the se a
And hears it roa r bene ath
Ha m
I t waves me still
G O on ; I ll follow thee
Ma r
Yo u shall no t go , my lord
Ha m
Ho ld o ff your hands !
H or
B e r u l d ; you shall n ot go
Ha m
M y fate cries o ut
A nd make s each pe t ty artery in this b o dy

As hardy as the N emean l i on s nerve

S till a m I c a l l d
U nh and me gentlemen

By heaven , I ll m ake a ghost o f him that lets me !

I sa y , away
Go o n ; I ll follow th ee
.

! Ex eu nt
Ho r

Ma r

Ho r

Ma r

Hor

Ma r

Gh os t

nd

Ha m let

He w axe s desperate with imaginat i on

Let s follow ; tis no t t thus to o bey him

Have after
To wh at issue w i ll th i s come ?
Something is rotten in the state o f D enmark
He aven will direct this

Nay , let s follow h im

! Ex eu nt
W I LL I A M SH A K E S P E AR E
.

INT ER P RE TI VE RE A D ING

128

JU LI U S

IV

ACT

C AES AR
S C EN E

E
n
t
er B r u tu s
(

III

nd C a ssi us

)
That you h ave wron g d m e doth appe ar in this :
Ca ssi u s
Yo u have condemned and no t e d Lucius P ella
Fo r taking bribes here o f the S ardian s ;
W herein my letters praying o n his side ,
B ecause I knew the man were slighte d O ff
Yo u w r ong d yourself to write in such a case
B r u tu s
In such a time as this it is no t meet
Ca ssi u s
That every nice o ff ence should bear his co m m ent
Let me tell yo u C assius yo u yourself
B r u tu s
Ar e much c o nde m n d t o h ave an itching palm,
T o sell and m art your o fces f o r gold
T o undeservers
I an itc h i ng pal m ?
C a ssi u s
You know that you a re B rutus that speaks this ,
O r by the gods thi s speech were else your last
T h e n ame o f C assius honors this corruption ,
B r u tu s
And ch astisement doth the r efore hide hi s he a d
C h astisement ?
C a ssi us
R emember M arch the ides o f M a r c h r emembe r :
B r u tus
D i d not gre at Julius bleed f o r j ustice sak e ?
W hat villain t o u c h d his body , that did stab ,
Wh at , shall o ne o f us
And no t for j ustice ?
Th at struck th e foremost m an o f all this wo r ld
But fo r suppo r ting r obbe r s , shall we now
C ontaminate our nge r s with base bribes ,
A nd sell the mighty space of o u r large h ono r s
Fo r S O much tras h a s m a y be graspe d thus ?
I had rathe r be a d o g , and bay the moon ,
T h an suc h a R oman
a

12

PE R S O N A T I ON

C a ssi us

B rutus ,

bay n ot me ;
I ll not endu r e it : you forget you r self ,
To he dge me in ; I am a soldier , I ,
O lder i n prac t i ce , able r t han yourself
To m ake condi t ion s
B r u tu s
G O t o ; y o u a re no t , C assius
I am
C a ss i u s
B r u tu s
I sa y y o u are n ot
U rge me no m ore , I shall forget mysel f ;
C a ssi u s
Have min d upon y ur he alth , tempt m e no furthe r
B r u tus
A way , slight man !
C a ssi us
I s t possible ?
B r u tu s
Hear me , f o r I will spe ak
M ust I give way an d room to your rash choler ?
Sh all I be frightened when a madm an sta re s ?
0 ye gods , ye gods ! mu st I endu r e a ll
C a ssi us
this ?
B r u tu s
Al l this ! a y, more : fret till you r proud h ear t
break ;
GO Show your slaves h ow choleric y o u a re ,
And make your bondmen tremb l e
M ust I budge ,
M ust I observe you ? M ust I stan d and c r ouc h
U nder your testy humor ? By the gods ,
You sh all digest the venom o f y our spleen ,
Though it do split you ; f o r , from this day fo r th,
I ll use you f o r my mirth , yea , f o r my laug hte r,
W hen y o u a re waspi s h
C a ssi u s
Is it come t o this ?
B r u tu s
Y o u say y o u are a better s oldie r :
Let it ap p ear so ; make your vaunting true ,
And it Sh all p lease me w ell : f o r mine own p a r t,
I shall be glad to le arn o f abler men
Ca ssi us
You wrong m e every way ; you w r o ng me ,
Br utus
.

INT ER P RE T I VE RE A D IN G

130

s aid , a n elder s oldier , n ot a better :

Di d I say bette r ?
If you did , I care no t
B r u tu s
W hen C aes a r l i v d , he durst not t h us h ave
C a ssi us
m ov d me
B ru tu s
P eace , pe ace ! y o u durst not so ha ve tempted
him
I durst not !
Ca ss i u s
I

B r u tu s

NO

W hat , durst not tempt him !

For your l i fe you durst not
B r ut u s
D o n ot presume too much upon my love ;
C a ss i us
I may do that I shal l be sorry f o r
Yo u have done that you should be sor ry fo r
B r u tus
There is no terror , C as sius , in your threats ;
For I am arm (1 so strong in h onesty
That they p ass by m e as th e idle wind ,
I did send t o yo u
W hich I re spect not
Fo r certain sums Of gold , which you denie d me :
Fo r I can raise no m oney by vile means :
By he aven , I h ad r ath er coin my heart ,
A nd d rop my blood for drachmas , th an to wri n g
From the hard han ds Of pea s ants their vile tras h
By any indirection : I did send
T O y o u for gold to p ay my legions ,
W hich y o u denied me : was that done like C assius ?
Should I h ave a nsw e r d C aius C assiu s so ?
W hen M arcus B rutus grow s s o covetous ,
T o lock such rascal counters from his friends ,
Be r ea d y , gods , with all your thunderbolts ,
D ash h i m to pieces !
C a ss i u s
I denied you no t
You did
B r u tu s
I did not : h e was but a foo l
C a ssi us
C a ssi us

PE R S O N AT I O N

131

Th at brought my an swer back B rutu s hath r i v d my hea r t

A frien d should he a r his fr i en d s in rm i t i e s
B ut B rutus m ake s mine greater than they are
I do no t , till you practise them on me
B r u tu s
Yo u love me no t
Ca ssi u s
I do no t like you r faults
B r utus
C a ss i u s A frien dl y eye could never s ee such faults
A a tt e r e r s w ould n ot though they do appear
B r u tu s
A s huge as high O lympus
C a ss i u s
C ome , Antony , and yo un g O ctavius , come
R evenge yourselves alone o n C assius ,
Fo r Cassi u s i s aweary o f the world ;
Hated by one he love s ; brav d by his brother ;

C h e c k d like a bo ndm an all his faults O b se r v d ,

Se t in a n ote book , l e a r n d an d c o nn d by rote ,
T o cast into my teeth
O , I could weep
M y Spirit from mine eyes ! There is my dagge r ,
And h ere my nake d breast ; wi t hin , a hea r t
D earer than Plutus mine , richer than gold :
If th at thou be st a R oman , take it forth ;
I , that denie d th ee gold , will give my heart :
Strike , as thou didst at C aes ar ; for I know ,
W hen thou didst hat e him worst , thou lovedst hi m bette r
Th an e v e r thou l o vedst C assius
B r u tu s
Sheathe your dagger :
Be an gry when yo u will , it sh all h ave scope ;
D O wh at you will , dishonor shall be humo r
0 C as s i us you a r e yoked wi t h a lamb
Th a t c a rrie s anger as the int bears re ,
W ho much enfor c ed , sh ows a has ty Spa rk
A nd s t raight i s c o l d again
Hath C as s i u s l i v d
C a ss i u s
T O be but mir t h and laughter t o h i s B rutus ,
W hen grief and blood ill t emper d ve x e th him ?

I NT E RPR E T I V E

132

RE A D IN G

W hen I spoke th at , I was i ll t e m p e r d t o o

D O you confe ss so much ?
C a ss i us
G i ve m e your hand
B r ut us
A nd my heart t o o
O B ru t us !
C a ss iu s
B r ut us
W hat s the m atte r ?
Have not y o u l o ve enough to bear with me ,
C a ss iu s
W hen t h at ra sh hu m or whi c h m y mo ther gave me
M ake s m e forgetful ?
B r utu s
Ye s , C assius , and from henceforth ,
W h en you are over earnest with your B rutus ,
He ll think your mothe r chides , and leave you so
W I LL I A M SH A K E S P E AR E
B r ut us

M A C B ET H

I S C EN E V

AC T

(E nter L a dy M a cbet h,

L a dy M
They m e t me in th e day o f succe ss ; and I
hav e learne d by the perfectest rep o rt they h ave more in
them t h an mortal knowledge
When I burne d in desire
to que st i on them further they mad e themselve s ai r , into
which they vanished VVhi l e s I stoo d rapt in the wonder
cam e missive s from th e king wh o all h aile d m e
of it

Thane o f C awdor ; by which title before , these weird

Sisters saluted m e an d referre d m e to the coming o n o f
Hail king that sh alt be !
time with
This h ave I
thought good to deliver thee , my dearest partner o f g re at
ness ; that th o u mightst not lose the due s o f rej oicing by
bei ng ignorant o f w hat g re atn e ss is promise d th ee L ay

it to thy he art and farewell

Glamis th ou art , an d C awdor and shalt be
W h at thou a r t promised : yet d o I fear thy nat ure ;
I t is t o o full 0 th e milk of human kin dness
T O catch th e nearest way : th ou would st be g r eat ;
r ea

d i ng

l ette r

P ER S O NAT I O N
Ar t not without

133

bition , but with out

The ill ness sh ould attend i t : what th ou wouldst highly ,
That wouldst thou h olily wouldst n ot play false ,
And yet w ouldst wro ngly win thou l d st have great Glamis ,

That which crie s Thus th ou must do , if thou h ave it

And t h at which r ather thou dost fear to do
Than w i sh e st should be undone
Hi e the e hither,
T hat I may p our my spirits in thine ear ,
A nd chastise w i th th e valor o f my tongue
A l l th at i m p e d e s t h e e from the golden round ,
W hich fat e and metaphysical aid doth seem
To have thee c r o w n d withal
am

E
n
r
t
e
(

W h at

M ess eng er

is

your tidings ?
The king comes here to nigh t
M ess
Thou rt mad to say it
L a dy M
I s n ot thy mast er with him ? who , we r e t s o,
W ould have i nf o r m d for preparation
M ess
So please yo u, it is true : o u r th ane is coming :
O n e o f my fellow s h ad th e speed o f him ,
W h o , alm ost dead f o r breath , h ad scarcely mo r e
Than would m ake up his message
L a dy III
G ive him tendin g ;
E
x i t M essenge r
He brings great news
!
The raven himself is hoarse
That croaks the fatal entran ce o f D uncan
U n der my battlements C ome , you spirits
T hat ten d on mortal thoughts , un sex m e he r e ,
And ll m e , from the crown to t h e toe , top full
O f direst cruelty ! make thick my blood ,
Stop up the access an d p ass age to remorse ,
That n o compunctiou s visitings o f nat ure
Sh ake my fell pu r pose , n or keep pe ace between
-

134

INT ERP RETI VE RE A D IN G

The e ff ect and it !

C ome ,

thick night,
A nd p al l th ee in th e dunnest smoke of hell ,
That my k ee n knife s ee not th e wound it makes ,
N o r he aven peep through th e blanket o f the da r k ,

To cry , Hold , hold !

E
n
t
e r M a c be t h
(

G reat G lamis !

worthy C awdor !
G reater than both , by the all h a i l hereafter !
Thy letters hav e transported me beyon d
This i gnorant present , an d I feel now
The future in the instant
M a cb
M y de arest love ,
D uncan comes here to night
L a dy M
A nd when goes hence ?
T o morrow , a s h e purp oses
M a cb
O h , never
L a dy M
Shall sun that morrow s ee !
Your face , my than e , is as a book where men
To beguile the t i me ,
M a y read strange matters
Look like the time ; bear welcome in your eye ,
Y o ur hand , your tongue : look l i ke the inn ocent owe r ,
He th at s c oming
Bu t be th e ser p ent under t
M ust be provided f o r : and you shall p ut
This night s great busine ss into my dispatch ;
W h ich shall to all our night s and days to com e
G i v e solely sovereign sway a nd masterdom
M a cb
W e will speak further
O nly look up cle ar ;
L a dy M
T o alte r favor ever is to fear :
E
x eunt
Leave all the rest to me
!
W I LL I A M SH A K E S P E AR E
-

P ER S O NATI O N

135

M A CB E T H
AC T

V S C EN E
.

LADY

MAC B E T H S R OO M IN
D UN SINANE

T HE

C A ST L E AT

(Ente r Ge ntlew om a n a nd P hysi ci a n )

P hys
I have two nights watch ed with you, but can
perceive no trut h in you r rep ort W hen was it sh e last
walked ?
Since hi s maj e sty went into the eld , I hav e seen
Ge nt
he r ris e from he r bed , throw her nightgown up on her, nu

lock h er closet , take forth paper , fold it , write upon t ,

re ad i t , aft erwards seal it , and again return to be d ; yet all
this while in a most fast sleep
P hys
A great perturbation in nature , to receive at
once the benet o f sleep and do the eff ects o f w atching !
In this slumbery agitation , beside s her walking and other
actu a l performances , wh at at any time , h ave y ou he ard h e r
.

sa y ?

That , si r , which I will not r epo r t after her

Yo u may to m e , and tis most m ee t yo u should

P hys
Neither to you no r any o ne , havi n g n o witness
Gent
to conrm my speech
Gent

E
n
t
er L a d y M a c be t h, w i t h
(

t ap

er

L o y ou , here sh e come s ! This is her very guise , and ,

upon my life , fas t asleep
O bserve her ; stand close
Ho w came sh e by th at light ?
P hys
W hy , it stood by her : she has light by he r con
Gent
t i nu a lly ; tis h er command
P hys
You se e , her eyes are open
Ay , but their sense is Shut
Gent
P hys
W hat i s it She doe s n ow ? Look , how she r ubs
h e r h an ds
I t i s an accustome d action with h e r , to seem thu s
Gent
.

INT ERP RE TI VE RE A D IN G

136

washing her han ds : I ha ve known her conti nue in this a

quarter O f a n h our
Yet here s a sp ot
L a dy M
Hark ! she speaks : I will set down w h at
P hys
comes from her , to satisfy my r emembrance th e m o r e
stron gly
L a dy III
O ut , damned spo t ! o ut , I say ! O ne : two

why , th e n tis time to do t Hell i s murky

Fie , my
l o rd , e ! a soldier , and afeard ? W h at need we fear who
knows it , when none can call o ur power to account ? Yet
who would h ave thought th e O ld man to h ave h ad so much
blood in him ?
P hys
D o y o u mark that ?
L a dy M
T h e thane o f Fife had a wife ; w h ere is she
?
?
N o more
at
will
these
han
ds
ne
er
be
clean
now
Wh ,

that , my lord , n o more 0 that : you mar all with thi s

0
starting
P hys
Go to , go to : you h ave known what y o u should
.

no t

has sp oke wh at She should not , I am su r e Of

that : heaven knows what sh e has kn own
Here s th e smell of the blood still : all the
L a dy M
perfume s o f Arabia will no t sweeten this little hand O h ,
oh , Oh !
The he art is s o r ely
P hys
W hat a sigh is t h e r e !
charged
I would n ot h ave such a h ea r t in my bosom , fo r
Ge nt
th e dignity o f th e whole body
P hys
W ell , well well ,
Pr ay Go d it be , si r
Gent
This disease is beyon d my p r actice : yet I h ave
P hys
known thos e which h ave walked in their sleep w h o h ave
die d h olily in their beds
L a dy M
W ash your hands ; put on your nightgown ;
Gent

Sh e

P ER S O NATI O N

137

look not s o p ale : I tell y o u yet again , B anquo s burie d ;

h e c ann ot come out o n s grave
P hys
E ven SO ?
L a dy M
To bed , to bed ; there s knockin g at th e gate :
come , come , come , come , give me your hand : what s
done c annot be undone ; to bed , to bed , t o bed

! Ex i t
W i ll sh e go now to bed ?
D irect l y
Ge nt
Foul whi sperings a re abroad : unnatural deeds
P hys
D O bre ed unnatural troubles : infecte d m inds
T O their de af pillows w ill disch arge their secrets :
M ore needs She th e di v i ne th an th e physici an
Look after her ;
Go d , Go d forgive us all !
R emove from h er the means o f all annoy a nce ,
So , good night :
And still keep eye s upon her
M y m ind sh e has mated , an d amaze d my sight :
I th i nk , but dare no t speak
G oo d night , good doctor
Ge nt
! Ex eunt
W I LL I A M SH A K E S P E AR E
P hys

ANTI G O NE

S C EN E I

I
m
n
n
s
n
i
o
e
e
e
A
t
,
g
(

O my dear sister , my best love d I smene !

Anti gone
I s there an evil , by the wrat h o f Jove

R eserve d f o r (Ed i pu s unhappy race ,

?
Sorrow an d sh a me ,
h
ave
not
felt
already
We
A nd bitterne ss an d an guish , all th at s sad ,
All that s distressful , hath been ours ; and n ow
-

F ro m
m i ssi on O f

A nti g one

p u b li she rs

Of

Ma yna rd

E ng li sh

C la ssi c S eri e s

b y p er

INT E R PR E T I V E RE AD IN G

138

This dreadful edict from the ty r ant come s

To double our misfor tunes
Hast th ou hea r d
W hat h arsh comm an ds h e hath imp osed o n all ?
O r a r t thou still to know what future ills
O ur foe s have y e t in store to make u s wretched ?
I sm ene
Since that unhappy day , A ntigone !
W hen by each o t her s hand o ur brothers fe l l ,
A nd Greece dismissed her armies , I hav e heard
Naught that could gi v e j oy o r grief to me
Ant
I th o ught thou w er t a stranger to th e tiding s ;
And therefore called thee forth , that here alone
I might i mp art th e m to thee
0, what a re they ?
Fo r something dre adful labors in thy b r east
K now , then , from C reon , o ur indulgent lo r d ,
Ant
O ur ha p les s brothers m e t a different fate ;
To h on or o ne , and o ne to infamy ,
He hath consigned : w i th funeral rites h e graced
The body Of our dear E teocles ,
W hile Polynice s wretched carcass lies
U nburied unlamented , left exposed
A feast f o r hun gry vultures o n the plain
N O pitying frien d will dare to violate

The ty r ant s h a r sh command , for public deat h

Awaits th e O ff ender : C reon comes himse l f
To tell u s of it , such i s o u r condition
This is the crisis , this the hour , Ismene !
T hat must declare thee wor t hy o f thy bi r th
O r Show thee mean , base , an d degenerate
I sm
W hat wouldst thou have me d o ? D efy h is p owe r ?
C ontemn the laws ?
Ant
T o act with m e , or not :
C on side r , an d r esolve
I sm
W h at da r ing deed
.

P ER S O N AT I O N
?
?
ouldst
thou
attempt
W
hat
i
s
it
W
T O j oin
And take the body , my Ismene !

I sm

139
Speak !

Ha !

And

wouldst thou dare to bury it when thus

We are forbidden ?
Ay , to bury h im :
Ant
He is my brother , an d thine t o o , Ismene !
Therefore , consent or n ot , I h ave determine d
I ll not disgrace my b i rth
Hath no t the kin g
I sm
Pronounced it death to all ?
He h ath n o right ,
Ant
No power to keep m e from my o wn
A las !

R emembe r o u r unh appy father s fate ;

Hi s e y e s torn o ut by his o w n fatal han d
O ppresse d with sh ame an d infamy h e died :
Fruit of his cr i mes a mo ther and a wife ,
D re adful allian c e ! self dev o te d , fell ;
And last , in o ne sa d day E teocles
And P olynice s , by e ach other slain
L eft as we are , deserte d and forlorn ,
W hat from o u r d i sobedience can we h Op e ,
P oor , w e ak women ,
B ut misery an d ruin ?
Hel p le ss , no r formed by nature t o contend
W ith powerful man ; we are his subj ects t o o
Theref o re to this an d wo r s e th an th i s , my sister ,
IVe m ust submi t ; for m e , in hu m ble st p rayer
\V ill I addres s me t o the infern al powers
For pard o n o f th at c ri m e which , well th e y know ,
Sprang from neces si t y and then obey ;
Since to attem p t w h a t we can never h ope
T O execute , is folly all , an d madnes s
,

14 0

INT ER P RE TI VE RE A D I N G

W ert thou to proffer wh at I do not a sk ,

Thy poo r assistance , I would scorn it now
A c t as thou wilt ; I ll bury h i m myself ;
Let me perform but that , and de ath i s welcome
I ll d o th e pious deed , and lay m e down
By my dear br o ther ; loving and b elove d ,
W e ll re st together : to the power s below
Tis t we p ay obedience ; lo nger there
W e must rem ain than we can bre athe on e arth ;
T h ere I sh all dwell forever ; thou , me antime ,
W hat t h e gods hold most precious mayst despise
I sm
I reverence the gods ; but , in deanc e
O f laws , and un assisted , to d o this ,
I t w ere most dange r ous
Ant
That be thy excuse ,
W hile I prepar e the fune r al pile
I sm
Alas !
I tremble f o r th ee
Ant
T r emble fo r th yself,
And no t f o r m e
O h , do no t tell thy pu rp ose ,
I sm
I beg thee , do not !
I shall ne er betray thee
I d have it known ; and I shall h a t e t h ee mo re
Ant
Fo r thy concealment , than if loud to all
Thou wouldst proclaim the deed
I sm
Thou hast a heart
T o o daring , and ill suited to th y fate

Ant
I kn ow my duty , and I ll pay it t h e re

Wh e r e twill be best accepted

I sm
C ouldst thou do it ;

But tis n ot i n th y p ower

Ant
W hen I know that ,
I t will be time enough to quit my purp ose
I sm
It cannot be ; tis folly to attempt it
Ant

P ER S O NATI O N
Ant

Go

o n, and

14 1

shall hate thee : our dead broth er ,

He t o o sh all hat e th ee as his bitterest f o e
G O , leave m e here to su ffer for my rashnes s ;
W h a t e er befalls , it cann o t be so dreadful
A s n ot t o die with h o n o r
I sm
Then farewel l ,
Since thou w i l t h ave i t so ; and kn ow , I sm e n e
E
x e u nt
Pi t ies thy we akness , but admi re s thy vir t ue
!
S O PH O C LE S
.

NYD IA

(A

r oom

n t h e h ou s e

I o ne

IONE *

AN D

I one

N yd i a d e li v e r s Gl a u c us

s ea

te d

E nter N yd i a

m essa g e o

l or e

I may give these owers to none but thee

This w il l , perh aps ex p lain why he w h o sent m e chose s o
unwo r thy a messenger t o Ione
l
ues t o I o ne a l ettter fr om Gl a u c u s
G
!

I o ne
Glauc u s t o I o ne sends more than h e dare s to
utter For ve days I have been banishe d from thy pre s
ence D eign to s ee m e to listen to m e , and after that ex
I meant not so s oon to sa y I loved
c l u d e me if tho u wilt
B ut those words rush to my heart they will have w ay
W e m e t rst at th e shrine Of Pallas ; shall w e no t meet b e
fore a softer an d a more ancient altar ?
I send these owers by one wh om thou wilt receive for
h er o w n sake , if n ot f o r m i ne She , li ke u s, is a stranger
Less happy than w e She i s blind and a sl ave
I a sk per
mission to place her with thee
S h e i s skilled in music
and is a very C hlori s t o the o w ers
Sh e thinks th ou wilt
love he r : if thou do st no t se nd h er back to me
Let me be bold , Ione
C a n it be that A r b a c e s hath
wronged me to thee ? I think it , f o r I left him with thee
N yd i a

Ad a p t e d

3*

fro m

The La st

D a ys o f

Pom p e ii

INT ER P RET I VE RE A D I N G

14 2

Since

th e n , thou hast no t a dm itted m e

that h e can sa y Fare well
.

B elieve

nothing

G L AU C U S

W i l t t h ou s i t while I write an answer to this letter ?

W hat is thy name , fair g i rl ?
N yd i a
They call me N ydia
I one
Y our country ?
N ydi a
The land o f O lym pu s Thes saly
I o ne
Thou shal t be to m e a friend , as th ou art already
a countrywoman M eanwh i l e , I beseech th ee , stand no t
o n these cold marbles
Now I can leave th ee for an instant
.

R
e
(

e nt er

I o ne

You hav e w r itte n to G laucus ?

I o ne
I h ave
And will he thank th e messenger wh o gives him
N yd i a
thy let t er ? The lightest word o f coldne ss from thee will
sadden him the lighte st kindne ss rej oice
If it be the
last , let m e take thy answer back
I will return this even
ing
I o ne
Glaucus is am iable in thy eye s ?
N oble Ione , G l aucus has been that to m e which
N yd i a
neither fortune no r the g o ds have b ee n a fr i end !
W h y should I blush t o sa y that Glaucus is worthy
I one
G o , my N ydia take t o him thyself this
o f thy grat itude ?
letter but r e tu r n again
Nyd i a , I have no sister , wilt
thou be o ne to me ?
O ne favor , fair Ione
T h e y tell m e thou a r t
N yd i a
beau t iful beyond th e loveliness o f earth
I cann o t se e
W i l t th ou suff er me to p ass my hand over thy face ? That
i s my sole cri t erion of beauty
I know no w that thou art beautiful an d I can p icture
thee to my da r kness fo r eve r
L O R D L Y TT O N
N yd i a

DI V I S I O N

I II

I NTER PRE TIVE RE A DING OR S PE A KING TH AT

A PPE A L S T O T HE W ILL
.

T h e step s in D i vi sion III appe al n ot only to the under

standing an d th e em o t i ons , but also to t he will o f the audi
ence The purpose o f orat ory is to mold thought , and to
persuade m e n to a course of ac t ion A n orator must exe r t
h is o w n will , and must move the wills of othe r s
The ste p s i n this division a r e as follows :
I D irectne ss
I I V ig o r or strength
III Seriousness
I V A lliance with th e audience
V Persuasion
.

Ch a p t e r I
Di

r e c

t ne

s s

Take an e asy , dign ie d position G ain the attention of

your audience by Speak i n g d i re ctly to them no t a t th e m ,
Th ink of the audien ce as
I n natu ral conversat i onal tone s
a u ni t rat her t han as individuals
This will overcome the
tendency t o pi v o t th e he ad an d body
Speak e x t e i np o r a ne o u sly wh e n alone , a nd , when p ossible ,
B u t do n ot S p eak un l es s y o u have
before an aud i ence
s ome t hing t o sa y Sa y wh at you have to sa y simply and
directly
.

IN T ER P RETI VE RE A D ING

14 4

T O U S S AI NT

L O U V E RT U RE

If I stood h ere to night to tell yo u t h e story of Napoleon ,

I should t ake it from t he l i ps Of French m en wh o nd no l a n
gu a ge rich enough t o p a in t t h e great cap t ain Of t h e n i ne t eenth
century W ere I here t o tel l y o u the st o ry Of W ashingt o n I
should take it from y o ur hearts , you , w h o think no m arble
whit e enough o n which to carve the name o f t he Father o f
his C ountry I am to tell you the story o f a negro , wh o
h as left hardly o ne written line
I am to gle an it from
the reluctant test i mony o f B riton s , Frenchmen , Spaniards
men wh o despise d him as a negro an d a slave , an d h ated
him because h e h a d beaten th e m in m any a battle
C romwell m anufactured his own ar m y ; N apoleon , at
th e age o f t w enty seven , was placed at the h e ad o f the best
troop s E urope ever saw C r o m well never saw an a r m y till
h e w as forty ; this man never saw a soldier till he w as fty
C romwell manufactured hi s o w n army out o f wh at ?
E nglish m en , the best blood in Eur o pe O ut Of the middle
clas s o f E nglishmen , th e best bl o od o f the islan d And
with it h e con quered wh at ? Englishmen their equal s
This man manufacture d h i s army o u t o f what ? O ut o f
what you c a ll t h e despicable r a c e o f negroe s , debased , de
moralize d by t w o hundre d years Of slavery , o ne hundred
thousan d o f t hem imported into th e island within four years ,
un able to S p e ak a dialect intelligible even to e ach other
Yet o ut o f this mixed , and , a s you sa y , des p icable mass h e
forge d a thun derb o lt an d hurled i t at what ? At the
proudest blood in Europe the Sp aniard and sent him home
conquered ; at the m ost warlike blood i nE uro p e , the French ,
an d put them under his feet ; at th e pluckiest blood in
E urope the E nglish , and they skulked home to Jamaica
-

By p e rm i ssi on

of

th e p ub l ish e rs,

M e ssrs

Le e

S he p a rd

D IR E C T N E SS

Now if
soldier

C romwell w a s

14 5

a general , at least this man was a

blue eye d Saxon , proud o f your race, go back with

m e to th e commencement o f the century and select what
statesman you please
Let him be eithe r American o r
European ; let him hav e a brain t h e resul t o f si x generations
o f culture ; l e t him h ave the ripe st trainin g o f university
routine ; let him add to it th e better education o f practical
life ; crown his temples with the silver o f seventy
years ; and show me the m an o f Saxon line age for whom his
most s anguine a dm i rer will w re ath e a laurel rich as em
bittered foes h ave placed o n the brow o f th i s negro , rare
military skill , profound knowledge o f human nature con
tent to blot o u t all party d i st i nctions , and trust a state to
the blood o f its sons , anticipating Si r R obert P ee l fty
years , an d taking his station by the side o f R oger W illiams
before any E nglishm an o r A merican h ad won the right ;
and y e t th i s i s the record which th e history of rival state s
make s up for this in sp i re d black Of St D omingo
N ow ,

S om e doubt th e courage Of the negr o

G O to Hayti , and
stand o n thos e fty thousand graves of th e best soldiers
France ever had , and ask them wh at they th i nk o f the

negro s sword
I would call him Nap oleon , but Nap oleon made his wa y
to empire over broken oaths an d through a se a o f bloo d
This m an never broke his w ord
I would call him C ro m
well , but C romwell was only a s oldier , an d th e state h e
founde d went down with hi m i nto his grave I would call
him W ash in gton , but the gre at V irginian held Slave s This
man riske d his emp i r e r athe r than pe r mit th e slave trade in
the humblest village o f his dominions
You think m e a fanatic , for you r e ad h istory , n ot wit h
.

10

INT ER P RE T I VE RE A D I N G

14 6

your eyes , but with your prej udice s But fty y ear s hence ,
wh e n Tru t h gets a hearing , th e M use o f History will put
Phocion f o r the G reek , B rutus f o r t h e R oman , Hampden
f o r E ngland , Fayette for France , choose W ashington as
th e bright , consummate ower Of o ur earlier civilization ,
then , d i pp i n g her pen in t he sunl i ght w i ll write in th e clear
blue , above t hem all , the nam e of the s oldier the state s
m an , th e m ar tyr , T O U SSA I N T L O U VE R T U R E
W E N D ELL P H I LL I P S
.

E XT R A CT

FROM

RE PL Y T O H AY N E

M R PR E S ID E N T , I hav e thus state d th e r e ason s

Of

my
dissent to the doctrine s wh i ch have been advanced and
ma i ntained I am conscious of h aving de t aine d yo u and
th e S e nat e much too long I w as drawn into the debate ,
wi t h n o previous de l i beration , such as is suited t o the dis
c u ssi o n o f so grave an d i m port ant a subj ect
But it is a
subj ect o f which my h e a r t is full , an d I hav e no t been
wil l ing to suppres s t he utterance o f its spontaneou s s e nti
m e nts
I cannot, even no w , persuade myself to relinquish it ,
wi t h out express i n g on ce more my deep conviction , th at ,
Since it r espects nothing l e ss than th e U nion Of th e S tat e s ,
it i s of m ost vital and e ss e ntial imp ortan ce to th e public
h appiness
I pr o fess , si r , in my ca reer hith er to , to have
kept ste adily in view th e prosperity and h onor o f th e whol e
country , an d th e preservation o f o u r Federal U nion
It is
to that U nion w e ow e our s afety at home , and o u r considera
t ion an d dignity abroad
I t is to th at U nion that we are
chiey indebted for whatever mak e s u s most prou d o f o ur
country That U nion we re ache d only by the discipline
o f o ur virtues in the severe school o f adversity
.

By p e rm i ssi o n o f t he p u b li sh e rs

M e ssrs

Li t t l e ,

Bro w n

Co

14 7

D IR E C TNE SS

had its origin in th e nece ssities o f disordered n ance ,

p rostrate commerce , and ruine d credit
U nder its benign
i n uences , th e s e gre at inte r ests i mme di ately awoke , as
from th e de ad , an d sp rang forth with newness o f life E very
ye a r o f its duration h as t ee m e d with fresh p roofs O f its
utility and its bles sings ; and although o ur territory h as
st r etche d o ut wider an d wider , and o u r population Spread
fart her a nd f a r the r , they hav e not outrun its prote ction o r
its benets I t has been to us all a copious fountain Of
n ation al , s ocial , phr so na l happines s
I h a v e no t allow e d myself, si r , to look beyond th e U nion ,
to see wh at might lie hidden in the dark re c e ss behind I
hav e not coolly weighe d th e chances Of preserving liberty
when th e bon ds th at unite us together shall be broken
as under
I hav e not accu stomed mys e lf to han g over the
precipice o f disunion , to s ee whether , with my sh ort sight ,
I can fathom the depth o f the abys s below ; nor could I
r egard him as a s afe counsellor in th e aff airs Of this govern
men t , whose th o ughts Sh ould be m ai nly bent o n consider
ing not h ow the U nion might be best preserve d , but h ow
tolerable might be the condition o f th e people when it sh ould
be broken up and destroyed
Wh il e th e U nion lasts , w e h ave high , exciting , gratifying
prospects spread o u t before us , f o r us an d o u r children
B eyon d that I seek not to p gnpt r a t e th e veil
G o d grant
that , in my day, at least , t hat c ta in may not rise ! G o d
grant th at on my vision never may be Opened wh at l i e s
behind ! W hen my e y e s shall be turned to behold f o r the
last time t he sun in h e av e n , may I not se e him shinin g o n
the broken an d dishono re d fragments o f a once glorious
U nion ; o n S tat e s diss e v ere d , discordant , belligerent ; o n a
land ren t with civil feuds , o r drenched , it m a y be , in fra
ternal blood ! Let th ei r last feeble an d lin gerin g glance
r athe r be h ol d the gorgeous en sign o f th e r epublic , n ow
It

'

INT ER P RE T I VE RE A D IN G

14 8

kn own an d h ono r e d throughout th e earth , still full h igh

advan ced , its arms and trophies stre am ing in thei r origin al
lustre , not a stripe erase d o r p o l ldte d, n
o r a single sta r Ob
sc u r e d , bearing for i t s motto n o such miserable i nt e rr o g a t

o r y as
W hat i s all this worth ? no r those other wo r ds of

delusion and folly , Liberty rst , and U nion afterwards ,

but e v e r yw h ere , spread all over in characters o f livin g
light , blazing on all its am pl e folds , as they oat over the
s ea and ove r th e l and , and in e very w i nd under the whol e
he avens , th at other sentiment , dear to eve r y true Ameri
can h eart , L i ber ty a nd Uni o n no w a nd f o r ay e r , o ne a nd
i nsep a r a ble !
D A N I EL W E B S T E R
~

D I VI S I O N

III

Ch a p te r II

V i gor

or

S t r e ng t h

of great force require strength of ton e and vigo r

o f ac t ion , but nei th er should be so overdone as to become

rant
M emorize great oration s th at illustrate vigor o f
thought
Hold th e thoug h t of the oration in m in d until you a r e
a r ouse d to int e n s e e arnestness
Then speak with c o nv i c
tion in your tones
Practise speak i n g extempo r aneously , using vigor of action
Speeche s

S EL E C T I ON S
OUR

D UTY

THE

TO

PHI LI PPIN E S

I do not know why in the ye a r 18 99 this R epublic has

unexpectedly had placed before it mighty problems which
it must face and meet They hav e come an d a re he r e , an d
they could no t be kept away
The Philippine s , like C uba an d Po r to R ico , were intruste d
to o u r hands by the w ar and to that great trust , under the
pr o vidence o f G o d and in the n ame o f human progress an d
ci v ilization , w e a re commi t ted I t is a trust we h ave n ot
sought ; it i s a trust from which w e will not inch
The Americ a n p e Op l e w il l h o l d up the hands o f their ser v ants
at hom e to whom they c ommit i t s execution , while D e w e y and
O tis and the brave m e n whom th e y comman d will have th e
suppo r t of the country in u p holdin g o ur ag where it n ow
oats , the symbol an d assurance o f liberty and j ustice
.

IN T ER P RE T I VE RE A D ING

15 0

T h e r e i s universal agreement th at th e Philippine s s h all

not be turne d back to Spain
N o true American consents
to th at E ven if unwilling to accept them ourselves , it
would h ave been a weak evasion of manly duty to r equire
Spain t o tran sfer them to s ome other p o wer o r powers and
thus Shirk o u r own responsibility E ven if w e had had as
we did no t hav e , the power to compel such a tran sfer , it
could n ot h av e been m a d e without th e most seriou s inter
national complications
And yet had w e
Such a course could not be thought o f
r efused to accept the cession o f th e m we sh ould ha ve had
no p ower ov e r them , even f o r their o w n good W e could
not disch arge the responsibilitie s upon us until these islan ds
became ours , e i ther by conquest or treaty
There was
but o ne alternative , and that was either Spain o r th e U nited
States i n th e Philippines
The other sugge stions r st , that they should be tosse d
into the are na Of contention f o r the strife o f nation s , o r ,
second, be left to th e anarchy an d chaos O f no protectorate
a t all , were t oo shameful to be considered The treaty
gave th e m to the U nite d States
C ould we hav e required
less an d done o u r duty ?
C ould w e after freein g the Filipinos from the domin a
tion Of Sp ain hav e left them without government and with
o u t power to protect life o r pr o perty , o r to perform the i n
t e r na t i o na l Obligations essential t o an independent state ?
C ould we hav e left t hem in a state of anarchy and j ustied
ourselve s in o u r o wn conscience s or before the tribun al o f
mank i nd ? C oul d w e hav e done th at in the sight o f Go d
a nd man ?
.

T h e future o f the Philippine Islan ds is now in th e hands

U ntil the treaty was rati e d o r
o f the A merican people
rej ected the executive department o f this G overnment could
.

V IG O R O R ST R E N GT H

15 1

nly pre serve th e peace and protect life and p r operty

That treaty no w commits the free an d enfr anchise d Filip i
nos to t h e gu i ding h an d an d th e liberalizing inuences , th e
generou s sympathie s th e uplifting educat i on , not o f their
A meric an mast er s , but of th e i r Am er i can emancip ators
o

U nti l C ongres s shall direct other w ise it wi l l be the duty

o f the E xec utive to p oss e ss an d h old th e Phi l i p pines , gi v in g
to th e p eo p le thereof peace and order and b e ne c e nt gov
t
them
every
op
or
unity
to
p
r
os
e
cut
e
e r nm e nt , aff ordin
p
g
their lawful p ursuits , encouraging th em in thrift and i n
dustr y, m akin g them f ee l an d know that w e are th e i r
fr i ends , not their enemies ; that their good is o u r aim ; that
their w e lfa re is our welfare , but th at neither their as p ira
tion s n or ours can be realize d until o ur authority is a o
knowledge d and unque stione d :
Th at th e inhabitants Of the Philipp i nes wi l l be beneted
by this R epublic i s my unsh aken belief : that th e y will
h a v e a kindlier governm ent under o u r guidance an d that
they will be aided in every poss i ble way to be a se l f
respecti ng and self governin g p e opl e i s as tr ue as that the
American people love li b er t y and h ave an abidin g faith in
their o wn G overnment and in their o w n institution s
They
N C imp er ial designs lurk in the A merican mind
are alien t o American sentiment , thought , and purpose
O ur priceles s principles un dergo n o ch ange under a tropical
sun They go with th e a t
,

W h y re a d

y e no t th e c h a n g e l e ss tru th ,

c a n c o nq u e r b u t t o sa v e ?

fre e
I f we can benet these remote peoples , wh o will obj ect ?
If in the ye ars Of the future they are e stabli shed i n govern
ment under l a w and liberty , wh o will regret o u r perils an d
sacrice s ? W ho will no t rej oice in o u r h er oism and hu
m anity ? Always perils , a nd always after them safety ;
T he

15 2

INT ER P RE TI VE

R EA D ING

al ways darknes s and clouds , but always shining th r ough

th e m the light and the sunshine ; alway s cost and s acrice ,
but always after them the fruition O f liberty , e ducation ,
an d civil i zation
I have no light o r knowledge not common to my country
men I do no t prophe sy The present i s all absorbing to
m e , but I can not bound my vision by the blood staine d
trenches around M anila, wh ere e v er y re d drop , whethe r
from the veins o f a n A merican s oldier o r a misguided Fili
pino , is an guish to my heart, but by t h e broad range of
future y e a r s , when that group O f is l ands , under the impulse
o f the year j ust past , shall have become th e gem s and glories
o f these tropical seas
a l and o f plenty a nd Of increasing
p os sibilities ; a peo p le re d ee m e d from s avage ind o lence and
h abits , d e vot e d to the art s of p e ac e , in touch with the c om
merce and trade o f all nations , enj oying the blessings of
freedo m , O f civil and religious liberty , o f e ducation an d o f
h om e s , and wh os e children and children s children shall
for ages hence ble ss the A merican R epub l i c because it
emancipated and redeeme d their fatherland and s e t them

in th e p athway o f the world s best civilization

W I LL I A M M C K I N LE Y
.

T H E C H AR ACTE R

OF

W A S HI NG T O N

sense was eminently a characteristic of W ashing

ton ; so called n ot because it is so very common a t r ait of
ch aracter of pu b lic men , but because it i s the nal u d gm e nt
o n great practical question s t o which th e mind o f t h e com
munity is pretty sure eventually to arrive Fe w qualitie s
o f character in tho se wh o inuence the fortune s o f n ations
are so conducive bo t h to stability a nd progres s B ut it is
a quality which takes no h old Of the imagination ; it i n
C ommon

it

By p e rm i ssi on

of

th e p u b l sh e

rs M e ssrs
,

Li ttle

Brown

Co

V IG O R O R ST RE NGTH

15 3

spi r e s n o enthusiasm , it wins n o favor ; it i s well if it can

st a n d its ground agai nst the plausible absur d ities , the hol
low pre t ences , the stupendou s imposture s o f the day
B u t, h ow e v er these unobtrusive an d austere virtues may
be overlooke d in the popula r esti m ate , th e y belong unque s
t i ona b l y to th e true type o f sterlin g greatnes s , reecting as
far as it can be done within the n arrow limits o f humanity
th at deep re pos e and silent equilibrium o f mental an d m o r al
T o com p lain O f the
power which govern s the u niverse
character o f W ash ington that it i s destitu t e o f brilliant
qualities , is to complain o f a circle that it h as n o s alient
po i nts an d no sharp angle s in its circumference ; forget
tin g that i t owe s all its wonderful properties to the
unbroken curve of which every point is equidistant from
th e c e nt re
Instead , t herefore , o f bein g a m ark Of
i nferiority , this sublime adj us t ment o f p owers an d vir
tue s in th e character o f W ashington is in reality its glory
I t i s this which chiey puts h i m in h armony with more
than human greatness
The higher w e r is e in the scale o f
bein g , material , int ellectual , and moral the mo re certain
l y w e quit the r egion o f th e brilliant eccentr i cities and daz
O rder
z
l i ng contrasts which belong to a vulgar gre atness
an d proportion characterize the primordial constitution Of
the te r restrial system ; i neff able ha r mony rule s th e heaven s
The
Al l th e great etern al force s act in sol e mn silen ce
brawling torrent that dries up in summer deafen s you wi t h
its roaring W hirlpools in M arch ; w hile th e vast e a r t h o n
which w e d w ell with all its oce an , an d all its continents
and its thous an d milli o ns of inhabitants , revol v e s unhe a rd
upon its s oft axle at th e rate o f a thousan d mile s an h our ,
an d rushes noisele s sly o n its orbit a m i ll i o n and a half mil e s
a day Two stor m cl o uds encam p ed upon Opposite hills o n a

sultry summer s evenin g at the ex p e ns e o f n o more electric

ity , acco r din g t o M r Faraday, th an i s evolve d in the de
.

INT ER P RE TI VE RE A D IN G

154

compositio n o f a single drop o f water , will shake t h e su r

r oun ding atmosphere with t heir thu nders , which , loudly
as they rattle o n the spot , will yet not be h e a rd at the dis
tanc e o f twenty m i les ; while those tremendous an d unutte r
able force s which ever issue from the throne of Go d , and
drag the cha r iot wh ee ls of U ranus and N eptune along th e
u tte r most pathways o f the solar syst e m , pervade the i lli m i t
able univers e in silence
And did I sa y my friends , that I was unable to fu rnis h
a n entirely satisfactory answer to th e question , i n wh at the
true excellen ce o f the characte r o f W ash i ng ton consists ?
Let me recall t he word as unjus t to myself an d unjust to
The answ er is plain and simpl e enough ; it is this ,
yo u
that all the great qual i t i es of disposition and action, which
s o eminently t ted him for th e service o f his fellow men ,
were founded o n th e basis o f a pure C hris t ian morality ,
and derive d their strength and energy from th at vital s ource
He was great as h e was good ; and I believe , as I do in
my existence , that it w as an impo r tant pa r t in th e design
o f P rovidence i n raising him up to be the l e ad er o f the
revolution ary struggle, an d afterwards t h e rst President
of th e U ni t ed States , t o rebuke prosperou s am bition an d
successful intrigue ; to se t before the people o f A merica ,
in th e morni ng o f th e i r n at ion al existence , a livin g example
t o prove that armies may be best conducte d and govern
ments most ably and honorably administered, by men o f
s ound m o r al principle ; to t e ach to gifted and aspiri ng i n
d i v i du a l s and the p a r ti e s they l e ad , tha t , though a hundred
crooked paths may conduct to a temporary success , th e o ne
plain and straight path o f public an d private virtue can
alone l e a d to a pu r e and lastin g fame and th e blessin gs of
poste r ity
E D W AR D E V E R E TT

VI G O R O R S T R E N G T H

155

NAPO LE O N B O NA PA RT E
He is fallen ! W e may no w p ause before that splen did
prodigy, which tow ere d amongs t us l i ke som e ancient ruin,
whos e frown terrie d t h e glance i t s magnicence att r acted
G ran d, gloo m y , and peculiar , h e sat upon t h e t hrone , a
sce p tere d her mit , w r a p t m the solitude o f hi s o w n originality
A mind bold , independent , and decisive a wi l l , despotic
in its dictates a n
; energy that distan ced expedition , and a
conscience pliable to e v er y touch Of interest , m arked the
outline o f th i s extraordinary c h aracte r the most extra
ordin ary , perhaps , that , i n the annals o f this world , ever
r ose , o r reigned , o r f e ll
Flun g into life in t he midst o f a R e v o l ut i o n th at quick
ened every energy o f a p e ople wh o acknowledge d n o superior ,
h e c o m m enced his course , a stranger by birth , an d a scholar
by charity !
W ith n o frien d but h i s sword , and no fortune but
his talen t s , he rushed i n t o the lists wh ere rank , an d w ealth ,
and geniu s had arraye d th e ms e lve s , and competition ed
from him as from th e glance Of destiny He knew n o
motive but interest he ackn o wledge d no criterion but suc
ces s h e worshiped n o G o d but ambition , an d with an
E a stern devotion he kn e lt at the shrine o f his idolatry
Sub sidiary to this , th ere was no cree d t hat he did n ot
profe ss , th ere was n o Opinion that he did no t promulgate ;
in t h e hop e o f a dyn asty , he upheld th e C rescent ; f o r th e
sake of a divorce , he bow e d before the C ross : the orph an of
St L ouis , he became th e adopt e d ch ild o f the R epublic :
and wi t h a p arricidal ingrat i tude , o n th e ruins b oth o f th e
thr o ne a nd tribune , he r eared the thro ne o f his despotism
A p r of e ss e d C at h olic , he imprisone d the Pope ; a p r e t e nd e d
p atriot , he i m poverished th e country ; and in the name of
.

INT ER P RE TI VE RE A D ING

15 6

B r utus ,

h e g r asped without r emorse , an d wo r e with out

shame , the diadem of th e C aesars !
Through this p antomime of policy , Fo r tune playe d th e
clown to his caprice s At h i s touch , crown s crumbled , beg
gars reigned , system s v anishe d , the wildest theories took
t h e color o f hi s whim , and all that w as venerable , a nd all
that was n ovel , changed places with th e rap idity of a dram a
E ven apparent defeat assume d th e appearance of victory ;
h is ight from E gypt conr m ed his destiny ruin itself
only e l e vat e d him to empire
B u t if his fortune was great , his genius was transcendent ;
decision ashe d upon his councils ; and it was the sam e to
decide and to perform T o inferior intel l ect s , his com
b i na t i ons appeare d perfectly i mpossible , his pl ans perfectly
impracticab l e ; but , in his hands , simplici t y ma r k e d their
development, and succes s vindicated the i r adop t ion
Hi s pers on pa r took the ch aracte r o f his mind i f the one
never yielde d in the cabin et , th e other never bent in th e eld
Nature h ad no Obstacles that he did n ot surmount sp ace
n o opposition th at h e did n ot Spurn ; an d whether am id
A lpine rocks , A rabi a n sands , or polar snow s , h e seemed
pro of again st peril , and empowered with ubiquity ! T h e
whole continent o f E urope tremble d at beholding th e audacity
of his designs , and the mi r acle o f th e i r execution
Ske p t i
c i sm bo w e d to the prodigies o f his p erformance ; r omance
assume d the air Of history ; nor was there aught too i n
cre dible for belief , o r t o o fanciful f o r expectation , wh e n the
world saw a subaltern o f C orsica w aving his imperial ag
over her most ancient capitals A l l the visions of antiquity
became commonplaces in his contemplation ; kings were
his people nation s w ere his ou tposts ; an d h e disposed o f
courts , an d crown s, an d camps , and churche s , and cabinets ,
as if they w ere th e titular dignitarie s o f the chessboard !
Amid all t h e s e changes he stood immutable as ad a mant
.

V I G O R O R ST R E N GT H

15 7

matt e r ed little whether in the eld o r in the drawing

r oom wi th the mob o r the levee wearing the J a c o b i n b o n
net Or th e i r on crown banishing a Braganza , o r espousin g
a Hap s burg dic t ating peace o n a raf t t o the C zar of R us sia
o r contemplatin g defea t at the g a l l o w s o f L e i psic
h e was
still t h e sam e mili t ary des p ot ! C rad l e d in t h e camp , he
was to the last hour the darling Of the ar m y ; an d wh e th er
in t h e cam p o r the cab i net h e never forso ok a friend o r for
got a favor
In this wonder f ul combination , his aff ectation Of litera
tu r e must not be omitted
The j ailer o f th e pres s , he a f
f e c t e d t h e p atronage o f letters the prosc r iber o f books , h e
encouraged philosophy t h e persecutor o f authors , and th e
mu r dere r o f printers , h e yet pretende d to the protection of
learning
Such a m e dl e y of contradictions , an d at the
s am e time such an individual consistency , were never
united in th e sam e ch aracter A R oyalist a R epublican an d
an E mperor a M ohamm edan a C atholic an d a patron o f
the Synagogue a Subalt ern an d a Sovereign a Traitor and
a Tyrant a C h r istian an d an I n d e l he was , through all his
vicissi t udes , the same stern , imp atient , inexible original
the s am e mysterious , incomprehe nsible self th e man with
out a m o de l and without a shadow
C H AR L E S PH I LL I P S (adapte d)
It

'

D I V I SI ON
Cha p ter

I II

I II

S e r i o u s ne s s
Al l

great oration s are profoundly serious

T h e occasion , the th e m e , and its treatment , are of mo
ment The orator should regard e v ery such opport unity to
move the hearts and minds o f m e n as a critical hou r in his
l i fe J o c o se ne ss and i pp a nc y in such an hou r would be
stran gely o ut o f place The orator a nd his oration must
hav e a s eriousness th at w i ll command th e r espectful atten
tion o f men
The true orator gives a message to the world
R e ad gre at orations to know th e best thought o f th e seers
Of the p ast an d present M emorize great passage s from
th e s e orations an d recite them frequently Try to feel what
the original Speakers must h ave felt when they g av e th e
orati ons Familiarize yourself with the historic facts and
events associated with th e oration s
.

S EL E C T I O N S

RE M A R K S AT T H E D E D I C ATI O N O F T HE NATI O NAL

C E M ETER Y A T G E TTY S B U R G N O V 19 1863
,

Fourscore an d seven ye a r s ago o u r fathers brought forth

upo n this continent a new nation , conc e iv e d in liberty, a nd
dedicated to the proposi t ion that all men are created equal
Now w e are engaged in a gre a t civil war , testing whether
that nation , o r any nation so conceive d and so dedicated ,
can long endu r e W e a re met o n a gre at battleeld of th at
.

S ER I OU SN ES S

159

war W e have come to de di cate a po rtion o f that eld as

the n al r e st i ng p l a c e for those wh o gav e their lives that
that nation might live
I t is altogethe r tting and proper
that w e should do this
B ut in a large r sense, we ca nnot dedicate , w e cann ot con
secrate , we cannot h al low this ground The brave men
living an d d e ad , wh o struggle d h ere , have consecrate d it
far above ou r power to add o r detract The world will lit
tle n ote n or lon g remember what we sa y here , but it can
n e v er forget w h a t t he y did here
It is for us , th e livin g ,
rather , to be dedicated here to the unnished work which
they wh o fought h ere hav e thus far so n obly advanced
It is rather for u s to be here ded i cated to th e great task
r emaining before us ; th at from the se honored dead we take
increase d devotion to th a t cause f o r which they gav e th e
last full m e asu re of devotion ; that w e h ere highly r esolve
that these dead sh all no t h ave die d in vain ; that this n ation ,
under Go d , shall hav e a new birth o f freedom ; and th at
government o f th e people , by the peo p le , and f o r th e p e o
ple , shall n ot perish from the earth
A B RA H A M L I N C OL N
.

EXTR AC T

FR OM

T H E F A RE W E LL

A DD RE SS

F R I E N D S AN D FE L L o w C I T I ! E N S : In looking forward t o
the moment which i s in t ended to term i nate th e caree r o f
my public life , my feelings do not p ermit m e to suspen d
the deep acknowledgment o f that debt Of gratitude which I
ow e to my belove d country , f o r th e m any h onors it has
conferred upon m e ; still more for the steadfast condence
wi t h which it h as suppo r t e d me ; and for th e O p p ortunitie s
I have thence enj oyed o f manifesting my inviolable attach
m e nt , by service s faithf ul and persevering , though , in use
fulne ss , unequal t o my ze al
If benets hav e r e s u lt e d to o u r country from th e s e se r
-

160

INT ER P RE TI VE RE A D ING

vices , let it always be remembe r ed to your praise , and a s

an i nstructive ex am ple in o ur annals , that , un der circum
stanc e s i n which the p assions , agitate d i ne v ery direction,
w ere liable to mislead amidst appe arance s sometimes dubi
vicissitude s O f fortune Ofte n discouraging ; in situations
ou s
in which not unfrequently w ant of succes s has counten anced
th e Spirit o f criticism , the const ancy o f your support was
the e ssential prop o f the efforts , and a guarantee o f th e
plans by which they were effected
Profoundly penetrate d with this idea , I S hall carry it
with me to the grave , as a stron g incitement to un ceasing
vows th at heaven may continue to yo u the choicest tokens
o f its b e ne c e nc e ; that your union an d b r otherly affection
may be perpetual ; that the free C onstitution , which is the
work o f your han ds , may be sacre dly m aintained ; that its
adm inistration in every department m ay be stampe d with
wis dom an d virtue ; that , in ne , th e h appin ess o f the pe o
pl e o f these S tat e s , unde r the auspice s O f liberty , may be
m a d e complete by so careful a p re s er vation and so prudent
a u se o f this bles sing , as will acquire to them the glory o f
recommending to it the applause , the affection , and the
adoption Of every nation which is yet a strange r to
it
The great r ule o f conduct f o r u s in regard to foreign
nations , i s, in extending ou r commercial relations , to have
with them as little p olitical connection as possible
S o far
as we have al re ad y forme d engagements , l e t them be ful
l le d with pe r fect good faith Here l e t u s stop
E urope h as a se t o f pr i mary interests, which to us hav e
none , o r a very r e m ot e relation Hence she must be e n
gage d in f r equent cont r ove r sies , th e caus e s of which are
e ssentially foreign to o ur concerns Hence , therefore , it
must be unwise in us to implicate ourselves , by a r ticial
tie s, in t h e o r di na ry vicis situde s O f h e r politics , o r the o r di

S E RI O U S N E SS

161

nary combinations and collision s of h e r fr iend sh i p s or

enm ities
O u r detached and distant situation invites and enable s u s
to pu r sue a di e r e nt course
If we remain o ne people ,
under an efcient governmen t , th e period is no t far o ff
when w e may defy material inj ury from external annoy
ance ; wh e n w e may take such an attitude as will cause th e
neutral i ty w e m ay at any time re solve upon t o be sc r upu
l o u sly re specte d ; when belligerent n ations , un der the i m
pos sibility O f makin g acquisitions upon u s , will n ot lightly
h azard the giving us provocation ; when w e may choos e
peace o r war , as o ur int ere st , guided by u st i c e , shall counsel
Wh y forego the ad vantage s o f s o peculiar a S ituation ?
W h y quit o ur o w n to stand upon foreign ground ? W hy ,
by interwe aving o u r destiny with that of an y part of E u r ope,
entangle o ur peace an d p r osp er ity in th e toils o f E u r ope an
ambition , rivalship , interest , humor , o r caprice ?
I t i s o u r true pol i cy to st eer clear o f perm anent alli a nce s
with any portion o f th e foreign worl d ; so far , I m ean, as
w e a re now at liberty to do it ; for l e t m e n ot be understoo d
as capable of patronizing indelity to existing en gagements
I hold th e max im no l e ss applicable to public th an to private
aff airs , that honesty i s always the best policy I r e p ea t
it , therefore , l e t those engagements be O bserve d in their
Bu t , in my opinion , i t i s unnecessary and
genu i ne sen se
would be unwise to extend them
T aking care always to keep ou r selves , by suitable e stab
li shm e nt s in a r espectable defensive posture , w e may safely
trust to temporary alliance s for extraordi na r y eme r gencies
Harmony , liberal intercourse with all n ation s , are r e c o m
mende d by policy , hu m anity and interest B ut even o u r
commercial policy should hold an equal an d imp a r tial hand ;
neither seeking n or granting exclusi v e favors or references ;
consulting the n atural course o f things ; d iffu sin g and di
.

11

INT ER P RE T I VE

162

R E AD I N G

versifying by gentle means the stre am s o f comme r ce , but

forcing nothing ; e stablish i ng , with powers s o disposed , in
order t o give t r ad e a stable course , to dene th e rights O f
o ur merch ants , an d to enable the gov er nm e nt to support
them , conven t ional rule s O f i ntercourse , th e best that pre s
ent circumstan c es an d mutual Opinion wi l l permit , but
temporary , and l i able to be from ti m e to ti m e abandone d
or varie d , a s experience and ci r cum stanc e s shall dictate ;
constantly keeping in vi e w th at it is folly for o ne n ation to
look for disinterested favors fr o m an o ther ; that it must p ay
with a p ortion o f its independence f o r what e v er i t may a c
cept under that character ; th at , by such acceptance , it m ay
place itself in the condition Of h av i n g given equivalents for
n ominal favors , an d y e t with being reproach ed w i th ingrati
tude for not giving more
T h ere can be n o g r eater err o r
th an to ex p e ct o r calculate upon real favors from nation to
n ation
It is an illusion which ex p er i e nc e must cu r e ,
whic h a j ust p r ide oug h t t o discard
GEO R G E W A S H I N G T O N
.

D I VI S I O N

III

C H A PT E R I V

A l l i a nc e w i t h t h e A u d i e nc e

to persuade an audience , an orator must form a

sort o f men t al a li i a nc e with the m and secure the c o Opera
tion of their wills Practise recitin g passages from great
orations , an d as yo u do so, exer t your mind to gain and
hold t h e atten t ion of your audience
S p e ak e x t e m p o r a ne
o u sly , wi t h a s incere desire to give hel p f ul o r upliftin g
B e in sy m p athy with the m
thoughts to y ou r audience
In order

S E L E C T I ON S

MARC

A NT O N Y

O RATI O N

Friends , R om ans , countrymen , len d me your ears ;

I com e to bury C aesar , not to pra i se him
The evil th at men do lives after them ;
The good is o f t interred with their bone s
The n oble B rutu s
So let it be with C aesar
Hath told you C aesa r was ambitious :
If it were so , it was a grievous fault ,
A nd grievously h ath C aesar an swer (1 it
Here , under leave o f B rutus an d th e re st ,
Fo r B rutus is an honorable man ;
S o are they all , all h onorable men
C ome I to sp e ak in C aesar s funeral
He was my friend , faithful and j ust to me :
But B rutus s a y s h e w a s amb i tious ;
And Brutus i s an honorable man
.

164

INT ER P RETI VE RE A D ING

He hath brought m an y captive s home to R ome ,
Whos e r ansoms did the general co ffers ll :
D i d this in C aes ar seem amb i tious ?
W hen th at t he p oor hav e cried , C aes ar hath wept :
A mbition sh ould be mad e o f sterner stuff :
Yet B rutus says h e was amb i tious ;
And B rutus is an h ono r able man
Yo u all did s ee th at o n the Lupercal
I thrice p re s e nt e d him a kingly crown ,
W hich he did thrice refuse : was this ambition ?
Yet B rutu s say s he was am bitious ;
A nd , sure , he is an honorable man
I spe ak n ot to disprove what B rutu s Sp oke ,
B ut h ere I am to S p eak what I do know
Yo u all did love him on c e , not without cause :
W hat cause withholds you then to mourn f o r h i m ?
O j udgment ! th ou art ed to brutish beasts ,
And men h ave lost their re ason ! B ear with me ;
M y h e a r t is in the cofn there with C aesar ,
A nd I must p ause till it come back to me
But y e st er day t h e word o f C a sar might
Have stood against th e world ; n ow lie s h e the r e ,
A nd none so p oo r to do him reve r ence
O masters , if I were dispos d to sti r
Your hearts and minds to mutiny and rage ,
I should do B rutus wrong , an d C assius wrong ,
W h o , y o u all kn ow , a re h onorable men :
I will no t do them w r ong ; I rather choose
T o wron g the de ad , t o wrong myself and you,
Th an I will wron g such honorab le men

Bu t here s a p archment with the seal o f C aesa r ;

I fo un d it in his closet ; tis his will :

Let but the commons he ar this testament
W h ich , pa r don me , I do not mean to r e a d
.

AL L I A N C E W IT H T HE A U D I E N C E
And

1 65

they would go and kis s dead C aesar s w ounds

And dip their n apkin s in his sacred blood ,
Yea , beg a hai r o f him for m e mo r y,
And , dying , mention it within their wills,
B equeathing it as a r ich legacy
U nto thei r issue
W I LL I A M SH A K E S P E AR E
.

D I VI S I O N

III

C H A P T ER V
P

e r s u a s

T h e inuence o f oratory is transient that does not p er

s u ad e men t o think an d act more nobly O ratory should
make a course O f action clear to the m i nds o f the audience
I t should convince th e intellect , inuence the j udgment ,
arouse t he emotions , and persuade or move the wi ll s o f men
R ecite passages illustrating persuasion
S p e ak e x t e m
r a ne o u sl
B e full o f resources
o
Spe ak with the e l o
p
y
I nspire
q ue nc e born o f d ee p feelin g an d s t rong conviction
with your o w n lofty idealism
I m press with your o w n
A tt r act with your personality
re sistl e ss will
Have
faith in yourself and in your message
.

S PEE C H

O N T HE A M ERI C A N

W AR

I cannot , m y lords , I will not , j oin in congratulation on

misfortune an d disgrace
This , my lor d s , is a perilou s
and tremen dous moment It i s no t a ti m e for adulation
T h e smoothness o f attery cannot sav e us in this rugged
and awful crisis
I t i s now necessary t o instruct the throne
in the lan guage o f truth
W e must , if p ossible , dis p el the
illusion and th e darkness which envelo p it , and dis p lay , in
its full danger and genuine colors , th e ruin which is brought
to ou r doors
C a n ministers still pre sume to ex p e ct support in th e i r
infatuation ? C a n Parliament be so dead to its dignity
an d duty, as to give th e i r suppo r t to mea s ur e s thus obtr ude d
.

P ER SU AS I O N

16 7

and force d upon them ? M e asures , my lord , whic h hav e

r e duc e d thi s late ourishing empire to ruin and contempt !
B ut yesterday , and E ngland might have stood against the
world ; n ow , none SO poor t o do her reverence
The p e opl e whom we at rst despise d a s re b e ls , but wh om
we n ow ackn owle dge a s enemies , a re abetted agai nst u s ;
supplie d wi t h e v ery military store , their interest consulte d
and their ambassadors entertained by o ur inveterate enemy !
and ministers do not , an d da re not , interpose with dignity
o r effect
The desperate state o f o ur army abroad i s in
p art known N O man more highly esteems and hono r s the
B r i t i Sh t roops th an I do ; I know th e i r virtue s and their
valor ; I kn ow th ey can achieve anything but impossibili
tie s ; and I know that the conque st o f E nglish A merica i s
.

n i mp

ossi bi li ty

Yo u

cann ot my lords , you c a nno t c onqu er Am er i c a

W hat is your present situation th ere ? We do not know
the worst ; but we do know that in thre e campaign s w e
h av e done n othing , a nd suffere d much
You may swell
e v ery expense , accumulate every assistance , and exten d
your traf c to th e sh amble s o f every G erman de spot : you r
attempts will be forever vain and im potent doubly so , in
deed , from this mercenary aid o n which you rely ; f o r it
irritates , to an incurable resentment , the minds o f your a d
v e r sa r i e s , to overrun th e m with th e mercenary sons o f rapin e
an d plunder , devoting them and their possession s to the
rapacity o f hireling cruelty If I w ere an American , as I
am an E nglis hm an whil e a foreign troop was lan de d in my
country , I would n e v er lay down my arms never , never ,
.

never

my lords , who is th e m an th at , in addition to th e

disgrace an d mischiefs o f the war h a s dared to authorize
an d associate to our arm s th e to m ahawk an d scalping knife
?
the
s
avage
to call into civilized alliance the wild and
f
O
But ,

INT ER P RE T I VE R EA D I N G

168

i nh um an

inhabit ants o f th e w oods ? to delegate to the

merciless Indian the defense of disputed rights , and t o
wage the h orrors o f his barbarou s w ar against our brethren ?
M y lords , the se enormitie s c ry aloud for r edress an d punish
ment
But , my lords , this barbarous m e asu re has been defended ,
not only o n the principle s o f policy and necessity , but als o

for it is perfectly allowable , says

o n those o f morality ;

Lo r d Su olk, t o us e all the means which Go d and N atu re

have put into o ur hands

I am astonishe d , I am shocked ,
to he ar such p r inciples confessed ; to h e ar them avow e d in
this House , o r in this country !
M y lords , I did not inten d to encroach so much upon
you r attent i on , but I cann ot repre ss my indignation
I fee l
myself impelled to sp e ak M y lords , w e are calle d upon
as members o f th is House , as men , as C hristian m e n , to

protest against such horrible barbarity

W hich Go d and
Nature have put into our h ands !
W hat id e as o f Go d an d
N ature that noble lo r d may e nt er tain I know n ot ; but I
know th at such detestable principles are equally abhorrent
to religion and hu manity
W hat ! to attribute th e sacred s anction of Go d an d Na
ture to the massac re s o f the Indian scalping knife
to th e
c annibal savag e , torturing , murdering , devouring , drinking
th e bloo d o f his mangle d victim s !
Such notion s shock
eve r y precept of morality , every feeling o f hum anity , every
sentiment of h onor The se abominable principles , and this
more abomin able avowal o f them , deman d th e most decisive
in di gnation
I call upon that r ight r eve r end , and this most le a rned
bench , to vindicate the religion o f thei r Go d , to support
the j ustice O f their country I call up on th e bishop s to
interpose the unsulli e d sanctity o f their lawn
upon t h e
j u d ges to inte r pose th e purity of t h eir ermine , to sa ve us

PE RS U A SI O N

169

f r om t h is pollution
I call upon the hono r o f y ou r lord
ships to reverence t he d i gn i ty Of your ancestors , an d main
tain your own I call upon t h e spirit an d humanity o f
you r country and min e to v i ndicate the national characte r
L O RD C H A T H AM
.

T R U E E L O Q U E NC E

Wh en p ublic bodie s a r e to be addresse d o n momentous

occasions , when great interests a re at stake , and strong
p assions excited , p ot h i ng is valuable in sp ee ch farther than
it is connected with high intellectual an d moral endowments
C learn e ss , force and e a r n e stn e ss a re th e qualities which
produce conviction
True eloquence , indee d , doe s not
con sist in speech I t cannot be brought from far
Labor
and le arnin g may toil for it , but they will toil in vain
W o r ds and phrase s may be marshale d in e ver y way , but
they cann o t comp ass it It must ex ist in the man , in t he
A ff ected passi o n , intense
subj ect , an d in the occasion
expression , th e pomp o f declamation , all may aspire after
it , but cannot re ach i t
It com e s , if it com e s at all , like
the outbre ak i ng of a fountain from th e earth , o r the burst
ing forth o f volc anic re s , with spontaneous , original , native
force
The grace s taugh t in the schools , th e costly ornaments
and studie d contrivances o f sp ee ch , shock a nd dis gu st m e n
wh e n t heir o wn liv e s , and the fate o f their wives , their
children , and their country h an g o n the decision o f th e hour
Then w ords hav e lost their p ower ; rhetoric is vain ; and
all elaborate oratory contemptible
E ven genius itself then
feels rebuke d and subdued , as in th e pre sence o f higher
qualities
Then , patriotism is eloquent ; then , self devotion is elo
quent The clear con ception , outrunning the deductions
.

By p e rm i ssi o n

of

u i sh ers M e ssrs

th e p b l

Li t tl e ,

Brow n

CO

INT ER P RE TI VE RE AD I N G

17 0
of

logic , the high purp ose o f rm re solv e , the dauntless

Spirit , spe a king on the tongue , beaming from th e eye , i n
form ing every feature , and urgin g the whole man onward ,
right onward to his Obj ect this i s eloquence ; o r , rather ,
i s somethin g greater and higher t han all eloquence
It i s

a c ti o n,

no bl e ,

su bli m e ,

l
o
d
i
k
e
a
c
i
o
n
t
g

D A N I EL

E XT R A CT

F R O M FIR S T B UN KER
*
A
O R TI O N

H ILL

W EB S TER

M O NU M E NT

Ve n er abl e

men ! you h ave come down to us from a forme r

generation He aven h as bounteously leng t hene d out your
live s , that you m i ght behold t h i s j oyous day
You are
now wh ere y o u stood fty y e a r s ago , this very hour , with
your brothers and your neighbors , sh o ulder to shoulder , in
the strife f o r you r country B ehol d , how altered ! T h e
same h e av e ns are i n deed ov er your he ads ; th e s ame oc e an
rolls at your feet : but all e ls e how changed ! You hear
n ow n o r oa r of h ostile cannon , you se e no mixe d volum e s of
T he
smoke and ame rising from burnin g C harlestown
ground strowe d wi t h the d e ad and th e dying ; th e i mpetuou s
ch a rge ; the steady an d successful repul se ; the loud call to
re p e at e d assau lt ; the summon i ng of all that is manly to
re p e at e d re sistance ; a thous and b os om s freely and fe arlessly
bared in an instant to wh atever o f terror there m ay be in
war an d death
all these you hav e witnes sed , but yo u
witnes s th e m n o m o re Al l is peace
The heights o f
yonder metropolis , its towers and roofs which y o u then
saw lled with wive s an d children and countrymen in di s
tress an d terror an d looking with unutterable emotions for
the issue of th e combat h av e p re s e nt e d y o u to day with
th e sight O f i t s wh ol e happy population come out to w e l
.

By p erm i ssi o n o f t h e p u b l i sh e r s

M e ssrs

Li ttl e ,

Bro w n

Co

P ER S U ASI O N

17 1

come and greet you with a un i versal jubilee

Yonder p r oud
ships , by a felicity Of p o s i t ion appropriately lying at th e
foot o f th is mount an d seem i ng fondly to cling around it ,
are not me ans o f annoy a nce to you , but your country s own
A l l is p e ac e ; and G o d
me an s o f dis t i nct ion and defence
has granted you t his sight Of your country s hap p ine s s ere
you slumber in th e grave He has allowe d y o u to behold
an d to p artake the reward Of your p atriotic toils ; and h e
h as al lowe d u s, your sons and count r ym e n , to meet you
here , an d in t h e na m e O f the present generation , in the
n ame o f your count ry , in th e nam e o f l i berty to thank yo u !
B ut, alas ! y ou are no t all h ere !
Time an d the swo r d
h ave thinne d your ranks Prescott Pu t nam , Stark , B rooks ,
R e ad , Po m eroy , B ridge ! our eye s seek for you i n vain
among this broken band
Y ou are ga there d t o your fathers ,
an d liv e only t o y o ur country in h er grateful remembrance
and you r o w n br i ght example
But let u s not t o o much
grie v e , th at you h ave met the common fate o f men
Yo u
live d at le ast long enough to know that your work had
b ee n nobly a nd suc c e s sfully ac c om p lishe d Yo u liv e d to
se e your country s ind e p e nd e nc e e st a bli she d and to Sh e ath e
your sword s fr o m w a r
O n th e light O f Liberty y ou sa w
arise the light o f peace , like
.

Ri se n

no t h e r m

oh m

rn

id no o n

sky o n which you clo se d your eye s was cloudless

B ut ah ! Hi m ! the rst gre a t m artyr in t hi s g re at cause !
Hi m ! th e premat ure v i c t im of his o w n self devo t ing heart !
Hi m ! t h e he a d Of our civil councils and th e de st i ne d leader
Of our m ili t ary band s w h o m nothing brought hither but the
unquen ch able re o f hi s o w n spirit ! Hi m ! cut o ff by
Providence in t he h o u r Of overwhelming anxiety and thick
gloom ; falling ere he s aw th e star o f his country rise ;
an d

th e

INT ER P RE TI VE RE AD IN G

17 2

pouring out h is generous blood like water , before h e knew

whether it would fertilize a land o f freedom o r o f bondage !
how shall I struggle with the emotions that stie the
utter a n ce o f thy n ame ! O ur poor work ma y perish ; but
thine shall en dure ! This monument may moulde r away ;
the solid groun d it res t s upon may sink down to a level
Wh ere so e v er
w ith the sea ; but t hy memory shall no t fail !
am on g men a heart shall b e found th at beats to the tran s
p orts o f patriotism an d liberty , its aspiration s shall be to
claim kind r ed wit h t h y spirit !
D A N I EL W E B S T E R
.

E XT R ACT

F R O M S E C O N D B UN KER HILL M O NUME NT

*
O R ATI O N
.

America

has furnished to th e world the ch a r acte r of

W ash in gton And, if o ur A me r ican institutions h a d done
nothin g else , that alone woul d have entitle d th e m to the
respect of mankin d

W ashin gton ! First in war , rst in p e ac e, and r st in

W ashin gton is all ou r

the hearts o f his countrymen !
own ! T h e enthusiastic veneration and regard in which the
people o f the U nited States h old hi m prove them to b e
worthy o f suc h a count r yman ; while his r eputation abroad
r eects th e hi gh e st honor o n his country I would cheer
fully p ut th e question to day to the intelligence O f E u r ope
upon th e
and th e world , W h at character o f the century
w h ole , stands o ut in the relief o f history , most pu r e , most
r espectable , most sublime ? an d I doubt not , that , by a
su ffrage approaching to unanim ity , th e answe r would be
W ashington !
The structu r e n ow standing before us , by its up righ tness ,
its s oli di ty , its du r abili ty , is no unt emblem of his c h ar
.

By p e rmi ssi o n o f th e p ub l i she rs,

M essrs

Li ttle ,

Bro w n

Co

PE R S U A S I O N

17 3

acter Hi s public vi r tue s and public principle s we r e as

rm as the e arth on which it s tan ds ; his p erson al m otive s
as pure as the serene hea v en i n which its summit is lost
But , in deed , though a t , it i s an inadequate emblem
Towering high above th e c o lu m n w hich o u r hands hav e
builded , beheld , no t by the inh ab i tants o f a single c i t y o r
a s i ng l e St ate , but by all th e fam i l i es o f man , ascends the
coloss al grandeur o f the character an d life o f W a sh i ngt on
In all the const i tuents o f th e o ne , in all the ac t s o f t h e
other , i n all its ti t le s t o immortal love , admirat ion , and r e
n own , it i s an A mer i can production
It is the embod i ment
an d vindication o f our Trans atl ant ic liberty B orn upon
o u r soil, o f parents also born u p on it ; ne v er f o r a mom e nt
h avin g h ad sight o f th e O ld W orld ; instructed , accordi ng
to th e mod e s o f h is t i m e , only in the S p are , plain , but
whol e som e elementary knowledge which o u r i n stitution s
p r ovid e for th e ch i l dren Of th e peo p le ; growing up bene ath
an d penetrated by the genu i ne inuence s o f Americ an so
c i e ty ; livin g from infancy t o manh ood and age am idst our
expandin g , but not luxuriou s civilizati o n ; partaking in o ur
gre at destiny o f labor , ou r lon g contest with unreclaime d
n ature and uncivilized man, ou r agony o f glory , th e wa r o f
I ndependence , o ur great victory o f pe ace , th e formation o f
the U nion , an d th e e stablishm e nt o f th e C onstitution , h e
is all , all o u r o w n! W ashington i s O urs
That crowde d
a nd glorious life ,
.

,
.

W h e re

i ud es O f v irtu e s p a sse d a lo ng
E a c h p re ssi ng f o re m o st i n the m i g h ty t hro ng
A m b i ti o u s t o b e se e n t h e n m a ki ng r o o m
Fo r g re a te r m u l ti tud e s tha t w e r e t o c o m e
m ul t t

th at life was th e life o f an American citizen

I cla i m h i m for A merica In all the perils , in every
darkened moment o f the state , in th e midst o f the r eproache s
.

INT ER P RE TI VE READ IN G

17 4

Of enemie s and the misgivings O f friends , I turn to that

tran scendent name for courage an d for con solation To
him wh o denies o r doubts wh e th er o u r fervid liberty can
be c o m b i ned with law , w i t h order , with the secur i t y o f
p roperty , with th e pursu i ts an d advancement O f h appiness ;
to h i m who denies th at ou r forms o f government a re capable
of pr o ducing exaltat ion of s oul and the p assion o f true
gl o ry ; t o h i m wh o denie s that we have contribute d anything
t o the stock o f g re at lessons and g re at examples
to all
th e s e I reply by pointing t o W ashington !
D A N I EL W E B S T E R
.

T H E B E TTE R

*
A
R
T
P

an i mpo r t a n t occasion in the l i fe O f the M aster , when

it fell to Hi m to p ronounce j udgment o n two course s o f

action , these m e mo r abl e words fe l l from Hi s l ips : And

M ary hat h chosen the b e tt e r part

T his was the supreme
test in th e cas e Of an individual
It is also the highest
test in the case o f a race o r a nation
Let u s apply this
test to the A merican negro
In the life o f o u r R epublic , when he has h a d the o p p o r
t u ni t y to choose , has it been th e better o r worse part ?
W hen in th e childh ood o f this nation the ne gro was asked
to submit t o slavery o r choose d e ath and extin ction , as did
the aborigines , he chos e the better p art , that which per
W hen in 17 7 6 the negro w as asked to
p e t ua t e d the race
decide bet ween B ritish opp re ssion an d A merican i nd e p e nd
ence , w e nd him choosing th e better p art , and C rispus
A ttucks , a negro , was the rst to sh e d his blood o n S tat e
Street B oston , that the white American m i g ht enj oy liberty
fore v er , though his r ace remained in slavery
W hen i n 18 14 , at New O rleans , the test o f patriotis m
On

"Use d b y p erm ission Of

th e

u tho r

17 5

P ER S U ASI O N

c ame ag ai n, w e nd t h e negro ch oosing th e bette r p art, and

G e n A ndrew Jackson hims e lf t es t i fy i n g that no heart was
m o re l o yal and no arm more s t rong and useful in defence
Of righ t e o usness W hen th e lon g and me m orable struggle
cam e be t w een U ni o n and sep ara t ion , when he knew that
vict ory o n th e on e h an d , mean t free d o m , and defeat o n th e
o t her h i s con t inue d en sl ave m ent w i t h a full know l edge of
the p o r t en t o u s meaning o f it a l l , wh e n t h e sugge s t i o n and
the t em p tat ion cam e t o burn t he h om e and massac re wife
an d chi l dren dur i ng th e absence o f th e m a ster in bat t le,
and thus insure his lib er ty , w e nd h i m ch oosing the be t t er
p ar t an d for f o ur lon g y e a r s protect i ng an d supportin g the
helpless , defenceles s ones intruste d to his care
Wh en i n 18 63 th e caus e o f th e U nion seeme d to quive r
in the balance , an d there w as doub t and distrust , the negro
was ask e d to come to th e rescue i n ar m s , an d th e valor he
d i splayed at Fort W agner an d P ort Hudson and Fort Pillow
testies m o st e l oquen t ly again that th e negro chos e th e
better part
W hen a fe w months ago th e safe t y an d hon o r
O f th e R epublic w ere th re at e n e d by a foreign f o e , whe n
th e wail and the anguish of th e O pp re ss e d from a distant
isle reache d his e ars , we nd the negro forgetting his o wn
wrongs , forgettin g the laws an d custom s that discrimin ate
against him in his o w n country , an d ag ai n w e n d o ur black
citizen choosin g th e better p art
If y ou would know how h e dep orted himself in the eld
at S antiago , apply for an answ er to Shafter and R oosevelt
an d W heeler
Let them tell h ow the n egr o face d deat h
and laid down his l i fe in defence o f h onor and humanit y ;
an d when you h av e gotten the full s t ory O f t he heroic con
duct of th e negro in th e Spanish A merican W a r heard it
from lips o f Nor thern soldiers an d S outh er n soldiers , from
ex abol i tion i st and ex mast er , then decide w ithin yourselves
whether a race that is thus willing to die f o r i t s country
.

'

17 6

INT ER P RE TI VE RE A D ING

should no t be given th e highe st Opp ortunity t o live f o r its

country ?
I n the midst o f all the complaints of suffering in th e
camp an d fi eld , suffering f r om fever and hun ger , where i s
t h e o f ci a l o r citizen th at has ever heard a word Of c o m
pl a in t from th e lips o f a black soldier ? T h e only request
that has come from the negr o s o ldier h as been th at he
might be permitted to replace the whit e s o ldie r when h e at
a nd mala r ia began to dec i m ate th e ranks o f th e whit e r egi
ment , and to occupy , at th e sam e time , the p ost Of greatest
d anger
This country h as b ee n mos t fortun a te in h e r
victories
Sh e h as twice measure d arm s wi t h E nglan d and
w on
S h e h a s m e t the spirit o f rebellion within h er o w n
borders and was victorious
Sh e h as m e t the proud Sp an
i a r d , an d h e lie s prostrate at her feet
A ll this i s well ; it
is magn i cent
B u t there remain s o ne oth er victory for Americans to
win , a victory as far reach i ng an d imp ortant as any that
h as occupied o u r a r my and n avy
W e h ave succeede d in
every conict except in the effort to conquer ou r s e lve s in
th e blotting o ut o f racial prej udices W e can celebrate th e
er a o f peace i n no more effec t u a l way t han by a r m resolve
o n the p art Of Northern men an d S outhern m e n , black m e n
and white men , th at th e tre nche s wh i ch w e together dug
around Santiago shall be the e t ernal burial place o f all that
which separates us in o u r bu siness an d civil relations
Let
u s b e as generous in peace a s w e h ave been b r av e in battle
U ntil we thus conquer ourselves , I make n o e mpty state
ment when I say that w e Sh all h ave a cancer gnawing at
the heart of the R epublic that Shall o ne day p r ov e as danger
ous as an attack from an ar my from without o r within
I n this presence an d o n this auspicious occasion I want
to present t h e d ee p gratitude of nearl y ten millions of my
people to ou r wise , p atient , and b rav e C hief E xecutive fo r
.

P ER S U AS I O N

17 7

th e generous manner in which my race has been r ecognize d

during this c o nict ; a r ecognition t hat has done more to
blot o ut sectional and r acial line s than any event since the
da wn o f o ur freedom I know how vain and impotent is
all abstract talk o n this subj ect
In you r eff orts to rise on

stepping stone s o f your dead selves , w e Of the black r ac e

shall not le ave you unaided
\Ve Sh all make the task e asi er
f o r you by acquiring property , h abits o f thrift , econo m y
intelligence an d character , by e ach m ak in g h i mself O f indi
vidual w orth in h is own community W e shall aid you in
this as w e did a few days ago at E1 C aney and S an t iago ,
wh e Ii we h e lp e d you t o h as t en th e p e ac e wh i ch we here
Yo u kn o w u s
celebrate
Yo u a re n ot afraid o f u s
W hen
th e crucial te s t comes you are no t ashame d Of us W e hav e
never betrayed o r deceive d you
You know that as it h as
been so it will be , whether i n war o r in p e ac e , whether in
sl a very o r in freedom , we h ave always b ee n loyal to th e
St ar s an d Stripe s
BO OKER T W AS HIN GTON
.

INT ER P RE TI VE RE AD ING

178

Tra c h e a a nd Lungs
7 T h y oid g l nd
1 Ep i g l tt is
8 T a c hea
2 H y id b ne
h n f th yroi d c a til ge
9 B nc h i l t ub es
3 S up i
10 L e ft b o nc h u
4 T h e l y nx
11 T w l b e o f l e ft l ung
5 T h y r id c a r ti l g e
12 Ri g h t l b e f l ung
6 C r i c o i d c ti l g e
Ad a p te d f m Mr O sk Guttm a nn s G y m nastic s f the Voic e
pe rm issio n o f th e p ub li s h e M E d ga r 8 We rner
FI G 1
.

Th e

a ry nx,

e r or

or

ar

ar

ro

ro

ar

r,

r.

By

PA RT II
BR EA T HIN G

D IV I S I ON
T HE

RE S PIR AT O R Y O R G AN S

organs Of respiration a re the trachea bronchial

tubes , and lungs T h ey , with th e muscl e s th at act up on
th e lungs are the motor po w er o f the voice
The tr a c he a , o r wind p i p e , e x tends from th e larynx down
ward , divid i ng int o the righ t br o nchu s and the left bronchus
The br o nchi a l tube s are r a m i cation s o f e ach bronchus , an d
term inate in the air cells o f the l ungs
The trache a and
br o nchial tube s and their tw i g s consis t o f rin gs o f c a rtilage
connecte d by bres o f elastic tissue
T h e s e rings nal l y
disap pear in the bronchial tw i gs The air p assage s are all
line d with mucous me m brane , from whi ch ows a subs t ance
like whit e o f egg , call e d mucus This k ee p s the air m o ist
an d catch e s part i cles o f dust The mucus move s in a steady
current upw a rd , by the action o f th e cilia The c i li a are
nu m erou s h a irlike proj ection s in the trachea , each o ne h a v
i ng the p ower o f bending back an d forth , m akin g a quick
m ovement t ow a rd the larynx , an d a slower return m o vemen t
The b ronchial tube s end i n tiny pouches or air cell s
som e what re se m blin g s oap bubble s
E ach cell c o nnects
through an O p e ni ng wi th a divis i on of th e bronchial tu be s
In
The walls o f these cells are thin an d highly elastic
T HE

I NT ER P RE TI VE R E A D IN G

18 0

th e walls o f the cells is a delicate network o f small blood

vessel s cal l ed ca i ll a ries
Here puri fi c a t ion of th e blood
p
t a kes place , the blood giving up wast e matter , and in re turn
receiving oxygen from the air
.

R E S P I RA T I O N
Of

R esp i r a ti o n consists

t i on

t wo

acts ,

i nspirati o n and expira

I N S P I RA T I O N
In inspiration the princ i pal active force s are th e d iaphragm
an d i ntercostal muscl es The secondary force s are the a b
d o m i na l mu scles
The d i ap hr a g m i s the transverse muscle that sep arate s
the thorax from th e abdomen I t con sists of two parts ,
th e larger o ne arising from
th e ensifor m cartilage o f the
sternum , and th e ends Of the
lo w er ribs on eithe r side
These bre s converge , an d
unite in a central tendon
The
inferior muscle Springs from
th e vertebrae o f the loins by
t w o p r oc e ss e s attached to the
lu m bar vertebrae These bres
FI G 2 Up pe r V i ew of D i a p h g m
also converge , a nd ultimately
unite w i t h the central tendon
forming one muscle
W hen relaxed , the diaphragm
curve s upward W hen its bre s contract , the diaphragm
i s pulled down , o r at tene d somewh at In moving down ,
it presses u p on the muscles o f th e abdomen , causing the
abdo m en t o protrude
T h e i nter c os ta l m u sc l es are th e muscle s O f th e ch e st t h at
directly or in di r ectly connect the uppe r t e n p ai r s of r ib s
.

ra

B R E A T HIN G

18 1

with the sternum The se m uscles elevate the ribs an d

sternum
The m ovement o f the d i aphrag m an d ch e st mus
cles t hus increases the
c a p acity o f the che st
The a i r al ready in th e
chest exp an ds t o ll
the la r ge r sp ace
W hen expanded , it ex
erts le ss p re ssure than
before a nd th e d e ns er
ai r o u t si de rushe s in
I t pre s se s o n the i n
side o f the elastic lung
cells , exp ands th e
lungs
an
d
th
e
y
ll
the
FI G 3 Lo we r V i e w of D i p h ra gm
l arger che st cavi t y
I nspirat ion require s eff ort becau se O f the r esistan ce o f the
muscle s an d org a n s of th e abdomen
.

E XP I RA T I O N

At

the close of insp i ration there is a rebound of the elas

tic walls o f th e air cells o f the lungs A s t he se cells con
t r act th e air i s fo r ced upward through t he b r onchial tube s
towa r d th e larynx ; the diap hragm re la xe s an d presse s up
ward , th e clav icle and sternum lower slight l y , and th e rib s
are dr a wn do w n w ard an d inward by the intercostal muscles
In thi s way th e chest cavity d e c re as e s in size and air is
forced fr o m the lu ngs
B reath i ng s hould be entirely thr o ugh the nos e
In the
l o w er part of the i i a r e s (th e cav i t ie s j us t bac k o f th e no s
t r i l s ) are tiny ca p il l a ries that he a t t h e a i r as i t p asses
through
The hairs i n the nostr i l s a nd the mucus of th e
nasal cavitie s c a tch the part i c l es o f du st in the ai r bre athe d
and thus prevent t h e entrance of impuritie s into the lungs
-

IN T ER P RE TI VE RE A D ING

18 2

b r eathin g depends largely upon dres s and h abit

T h e clothing about the waist should be loose enough to
allo w p er f e ct freedom o f movement o f th e ribs D u r ing
C orrect

FIG 4
.

E p i ra t i o n
3 D i p h ra gm
4 Ab d m e n

Insp i ra ti on
1 T ra c h e a
2 S te rnum

inspiration , the ribs should press outward like th e stav e s

The clothing about the thr o at should be loose
o f a barre l
enough to give room for the action Of the trache a and
larynx
If th e habit o f d ee p breathing b e formed , it will promote
t h e heal t h o f the body a nd impr o ve the quality o f th e
vo i ce
.

DI V I S I ON

II

B RE AT HING E XER C IS E S

U pper che st breathin g

Take the weight o n the balls o f both feet T ouch the
ngers lightly o n e ith er side o f the ste rnum
Inhale slowly
1

B R E A T HI N G

183

an d gently through the nostrils B re athin g should no t b e

audible
Hold th e breath during eight counts , th e n exhale
R e p e at
2 M iddle chest breathin g
P lace the p alms o f th e h ands at th e side s against th e r ibs ,
with th e n gers pointin g directly front Inhale quickly
through the nostrils , letting th e ribs push outward like the
stave s o f a barrel Hold th e breath durin g eight counts ,
then ex hal e and repeat
3 L ow er che st b r e athin g
Plac e the thumbs on e ith er side o f th e sp ine , a little
I nhale v er y slowly an d deeply through
a b OV S the belt line
the nostrils Hold the breath durin g sixteen counts
Ex
h al e quickly R epe at
4 A pex b r eat hi n g
Inh ale quickly and deeply through the nostrils Hold
the b re ath during S i xteen counts Whil e h olding th e
b re ath , mov e both arms up in front of th e body , over and
down back o f the body twice E xh ale quickly R epeat
.

PA RT I I I
V O C A L C U LT U R E

T HE

development o f the singing voice and the speaking

voice depends rst o f all upon control of the bre ath Th i s
is gained b y systematic practice o f breat hing exercises and
vocal exercises The rst s t ep in importance in v o c a l i z
at i on is t he p l acing Of the tone so th at the o ver to nes o f
th e vocal cords shall b e r e enforced Th i s is accomplished
by th e c o operation o f the mind
The o ne who would p la c e
tone forward must t hi nk the t one forward during e v er y
vocal exercise
The t o ne thus directed will resound in
th e n ares and sinuse s
The mind and the vocal organ s a r e so r elated that when
t h e mind form s a n ideal tone the voice approximates the
ideal E very s tudent of vocal culture should think the
tone he i s about to give before he gives it, and as he gives it
.

DI V I S I ON
T HE

V O C AL

O R G AN S

The org ans of the voice are the larynx

of res onance

a nd

th e cav ities

C AR T I L A G E S

of

O F TH E

L AR Y N X

The larynx i s an exp ansion o f the trache a

s everal cartilages and muscles
.

It

consists

T HE

V O C A L O RG ANS

At

18 5

the top of the trachea and seemi ng a p art of it is

th e c r i c oi d cart i lage which i s almost circular I t re s e mbl e s
a Signet ring th e broad surface bein g at th e back
A bove the c r i c o i d c artilage i s th e thyr oi d cartilage
which forms the front an d sid e s o f the larynx This c o n
sists Of two lateral carti
l a gi no u s plate s j oined i n
front at an acut e angle
These plat e s are widely
apart behind
Th e pos
t e r i o r edge o f e ach i s con
t i nne d in u pp er and lower
horn s o n e i t her side T h e
upp er h o rns are c o nnect
e d with the hyoid bone
The lowe r hor ns are c o n
ne c te d wi t h the cr i coid
cartilage by m e ans o f a
j oint which allows o ne
surface to move freely o n
th e o ther
There are t wo a r y tenoi d
cartilages
These a re
small tri angular pyramid s
that rest upon the upp er
F
IT S
T he La m x
edge o f th e back part o f
Ep i gl tt i s
the cr i co i d cart i lage at th e
N T h y wh yo i d l i g m e nt
il ge
Th y id I F
back o f the larynx E ach
C r i c id ca r t i l ge
cart i lage art i culate s W i th
g H yoid b n
m S up e i r h n f t h yr i d c rt i la ge
t he cricoid cartilage b y
C ri c o th yr l d m u c l e
mean s of a j o m t w h i ch a l
n Tm he
lows freedom o f m o t i on
The anterior an gle of the b ase of e a ch aryten oid cartilage
unite s with the p osterior en d o f a vocal cord , and is o ne o f
,

ca

ro

or

r o

INT ER P RE T I VE RE AD ING

186

the most important mean s of changing the tension of the

voca l cor d s
Th e c a r ti la g es O f Sa nt or i ni are two small car t ilages at th e
ap ex Of e ach arytenoid cartilage
The cartilages o f W risberg are two s m all cartilage s
foun d in the folds of membrane b e tw ee n the ap ex o f e ach
arytenoi d cartilage an d the
Sides of th e epiglottis
The ep i g l o tti s is a leaf
sh ap e d cart i lage b e tw ee n the
r o o t of the ton g ue and th e
larynx
D urin g r espiration
o r v o caliz ation the epiglot t i s
is raised but durin g the pro
ces s o f swallowin g it closes
t i ghtly over the larynx
.

FI G 6 T h e
.

1 Vo c a
.

:5

Voc al C or d s

lc d
or

T H E M U S C LE S

A N D TH E L I G A
M E N T S O F TH E L ARY N X

Ar yt e no id c a r ti l a ge
a ry te no id m usc l e
Th e
C o nne c ti ve t i ssu e
T h yr o id c a rti l a ge
.

The vocal co r ds are two

i i b one
li
g
am
e
nts
in
the
membran
ou
s
3gfitis
lips wi t h in th e la ryn x N e a r
8 (E p h g us
9 Tn
h y oi d l i g m e nt
v
th e edge o f e ach lip j ust with
in the c overin g o f mucous me m br a ne i s stretc h e d a band of
gli st en i ng w h i te ela st ic bre s These two bands are a t
t a c h e d t o the angle o f the thyroid cartilage in front and to
t h e anter i o r angl es of the base s o f the arytenoid cartilages
at the back o f th e larynx
The v o cal c o rds o f men are longer than the vocal co r ds
Those of men are a little over a half inch in
o f women
length ; th ose o f women , les s th an a h alf inch
T h e openin g b e tw ee n the vocal cords is called the glottis
Just above the vocal cords are little cavities called ven
t ri c l e s
Just above the ventricle s a r e eshy edge s called
5

'

so

ro

T HE

V O C A L O R GANS

18 7

fa lse vocal co r ds o r ventricular folds

The false vocal
cords a re th e l o w er edge s of m embr ane extendi n g from t he
s i de s of the epiglottis in front to the arytenoid cartilage s at
t he back
The t hyr o hyoi d ligament connec t s t h e thyroid carti
lage with th e hyoid bone
T h e c r i co t hyr o i d muscles ex t end from t h e front o f the
cricoid cartilage to the lower horns O f th e thyroid cartilage
and c o nnec t th e cricoid and t hyr o id car t i l ages
The t hyr o a r yteno i d muscle s li e next to the vocal
cords attach e d at o ne end to the t hyroid cartilage an d at
t h e oth er end to the arytenoid cartilage s
They a re a t
t a c h e d t o the vocal cords by tiny bres and in this wa y
modify th e action o f the cords
A m e sh o f mu scle s lie s next to the thyro arytenoid
muscl e s , an d connects the m with th e wall s o f th e thyroid
cartilage
The a r yte no i d muscle lies at th e back of the larynx
and j oins th e arytenoid cartilages This i ndire ctly modie s
the tension o f th e vocal cords
The p oster i o r c r i c o a r ytenoi d m uscles r un from th e

back or Signet o f the cricoid cartilage to the outer angle

Of th e aryten oid cartilage
T h e l a ter a l c r i c o a r ytenoi d muscles run from the out er
an gle s of th e a rytenoid cartilage s t o the upper p art o f th e
cricoid cartil a ge
T h e de p res so r o f th e epiglottis i s a t tached to the
epiglottis and a ryten oid car t ilage s
.

T HE C A V I T I E S

OF

R ES ONANCE

The c avities o f resonance are the t rachea the larynx

t he t wo n a rc s
t he m o u th
and t he ei ght
t he p h a ry nx
si nu se s
,

I NT E RPR E TI V E

188

RE A D IN G

The tr a c hea is th e cavity Of reson ance f o r tone s l o w

in p itch I t extends from th e larynx to th e lungs
The ve ntr i c les o r small cavities abov e th e voice lips are
the cavit i es in which th e vibrations o f th e cords are trans
m i t t e d to th e air
T h e y m odify the tone
but little
The p ha r ynx i s the
cavity exten din g from
the larynx to the
n ares
I ts sides an d
pos terior surface are
covere d with h i ghly
elastic m u scl es an d
these in turn are
covered with mucous
membrane By con
tracting and exp an d
i ng the muscles vary
the size and Shap e Of
this cavity and so
modify the tone Fo r
beautiful tone these
11111 8 018 8 Should be r e
C a vi ti es of Re sona nce
FI G 7
T h e pharynx
lax e d
6 So ft p l a te
1 F nt l i nu
7 Uvul
2 Sp h n i d l sm us
serve s principally to
nd
8 M o u th
m i dd l e
3 U pp e
d l l e Ct 01 p I OJ tone
9 Ph ry n
l w m tus o f ne
10 Ep i gl tti s
f th e n
The m ou th i s the
T u b i n te d b one !
11 Hy o i d b o ne
resonant cav i ty that
12 T a c h e
5 H d p l te
varie s most in size
an d Sh ape during th e production and m olding o f tone
Thi s is du e t o the mob i l i t y o f t he tongue an d soft p alate
The tongue is composed o f muscles running in every d i r e c
tion , and it is cap able o f almost innite var i e ty of position
Turb i na t e d p ro c e sse s o f t h e e t h m o i d b o ne
.

ro

r,

a re s

ea

er

ar

a a

'

T HE V O C AL

O R GAN S

18 9

It is attache d at its root to th e hyoid bon e and for the greater

part of its l e ngth it i s attach e d b e low to the low e r j aw
Th e p a l a t e or cov e ri ng of the mouth cavity consists o f two
part s , th e hard o r bo ny p al ate and the soft p alate o r
v e lu m
T he soft p alate is very elastic
Som e time s it i s
perfectly r e laxed as in breathing an d shuts th e pharyn x
In ton e production an d sp ee ch the
o ff from the mouth
soft p alate r is e s and p re ss e s back agai nst th e pharynx thus
closin g the op e ning into the upp e r pharyn x
I n the h e ad
ton e s the soft pala t e push e s up into th e u pp er pharynx
Th e parts of the soft p alat e important in th e voice work
are th e u vu la o r p e nd e nt portion an d th e muscu l ar bands
at the sid e s calle d the p i l l a r s of fa u ces These help to
fo r m the transient caviti e s that mold ton e
Th e n asal cavities ext e nd from th e bas e of the cranium t o
th e roof of the mouth Th e ant e r i or portions , opening at
th e fac e are call e d nostr i ls Th e post e rior portions open
in g at th e back into th e ph arynx are call e d ma r es The two
nar e s ar e s e p arat e d by a th in p artition calle d th e s ep tu m
I n e ach of the nar e s th e co nvolutions o f t h e e thmoid bo ne
produc e three ssur e s known as th e upp e r middle , and
low e r m e a tus These s sur e s r e sou nd o r r e e nforc e the ton e s
high i n pi tch It has b ee n d i scovere d that th e overtones of
th e vocal cords are r e e nforc e d in th e wa r es a nd si nus e s
Each of th e nar e s communicate s with four small caviti e s ,
calle d si nu ses the frontal abov e in the for e h e ad t he
sph e noidal b e hind and the maxillary an d ethmoidal on
eith e r sid e W h e n ton e is held a mom e nt i n the nares it
will r e sound i n the sinuses also
In this way ton e is fur
ther r e enforced , an d the v o ice bec o mes more resonant
,

190

I NT ER P R ETI V E R EA D IN G

D I V I S I ON

II

T HE PROD U C T I O N O F T O NE

In respiration the membranous lip s o f the laryn x are r e

l a x e d , but in vocalization th ey approach e ach oth e r
Their
ap proach obstructs th e outward p assag e o f air , an d t h e
cords are s e t to vibrating These vibrations are transmitted
to the air p ass ing through , an d cause ton e W h e n this
ton e is r e enforc e d by th e chambers of r e s onance , it become s
voice ; and wh e n it is st i ll further modie d by the organ s
o f articulatio n, it become s speech
W hen th e vocal cords v i brate , they vibrate as doe s any
cord
as a whol e , a nd in parts
The vibration o f a cord
a s a w h o l e i s call e d a fund a m ent a l ton e
At the s ame time
that a cord vibrates as a whole , it vibrates in p a r ts th at
have a certain mathematical r e lation , as h alve s , quarters ,
etc ; o r thirds , ninths , etc
These vibration s of p arts are
call e d ov er t ones The overtones are h ig h er i n pitc h than
th e fu ndam e ntal ton e and all in p e rfect accord with
it I t i s th e p res e nc e o f overton e s in the human v o ice
that g iv e s i t a ri c h musical quality W ithout the r e
e nforcem e nt of the overt o n e s , the voice would be thin and
harsh
.

D I V I S I ON
STEPS AN D EX ERCI SES

IN

III
VO CAL

C ULTURE

Placing o f tone in the t w o n ares

a D irections ,
Then imagine i t coming
Sing a ton e m e nta lly
up a nd out o f the center o f the face , an d falling
.

V O C A L C U LT U R E

191

in

c u rve s in front of the face , a s spray fr o m a

f ountain
Then si ng th e ton e aloud
Speak a ton e mentally , then aloud
Always thi nk th e tone during vocali z ation
b The obj ect ,
The obj ect of this step is to place ton e in th e
nar e s , so th at th e overtone s may be r e enforced
c Th e ex e rcise s ,
1
H
u m m ng s oftly and musically
Vary the
( )
pitch
2
peak
1
l
l
a
e
S
6
a
1
( )
R
ecite
the
followin
g
3
)
(
.

W ith klingle , kl a ngl e , klingle ,

W a y down th e dusty di ngle ,
Th e cows ar e com in g hom e ;
N o w sw ee t a nd clear an d faint and l o w,
The airy tinkl i ngs come and go
L ike c h i m i ng s fro m som e far o ff tower ,
O r patt e ri ngs o f an April sh ow e r

That mak e s th e dais i e s grow

M r s Ag nes E M i tc hell
.

Pe rvasiv e ne s s

of to ne

R e s o na nc e

in

th e

nar e s

and

sinuses
D ire ct i ons ,
a
.

as b e for e , an d imagi ne it spreadin g

through th e face comi ng o ut through ev e ry part
of the fac e , a nd lli ng th e a i r with delicate re so
nant to ne
Th e n hu m m ng Hold th e tone as
long as p oss i bl e D o no t force it L et i t seem
to mak e i ts e lf A s the tone is thus held , the ton e s
already r e e nforc e d in the n ar e s are r e enforced in
t h e si nu ses, and become more musical
Thi nk

ng

INT ER P R ETI V E R EAD IN G

192

The obj ect

The obj ect o f this step i s to perfect t h e re s o nant
q uality of the v o ice , an d so increase its carryin g
power
The exercise s ,
m ng , an d sus
1
Tak
e
a
long
breath
Hum
()
tai n the ton e until it grow s very musical , and
u ntil its vi b rations are felt throughout the face
n
:
2
R
ecite
th
e
followi
g
()
,

W ith klingle , kl a ngl e , klingle ,

W a y down the dusty dingle ,

The cows are comin g home

.

tone by the diaphragm and the a b d om i

na l , dorsal , an d intercostal muscles
a D irections ,
Take a deep full breath
Support of tone is
bas e d up on the control of the bre ath
R elax the
muscles o f the throat by yawning There should
b e no eff ort o f the throat muscles All effort
should be conned to the muscle s th at control the
breath
Sing a tone th at soun ds full , steady ,
rm , an d sweet Then spe ak a tone in like m an
ner Think of the tone as passing o ver through
t h e front o f the face , and forwar d in a steady
stream
b Th e obj ect ,
The obj ect of t h is step i s to sec u re freed o m and
support o f tone
0 The e x ercises ,
n
1
Practice
the
bre
at
h
i
g
exercises
( )
1
l
1
in
g
6
in
a
full
rm
an
d
sweet
t
o
n
2
S
o
6
l
o
e
,
,
( )
:
R
e
cite
the
following
3
( )
Support

of

A r o un d thee an d above deep is the ai r a nd d a r k

193

V O C A L C U LT U R E
4

Smoothn ess

of

tone

D irecti ons ,

a music a l tone so continu ous ,

ne , steady and sweet a s to seem sp un ou t Take
a lo ng br e ath , then si ng or spe ak aloud , keepin g
the ton e steady , continuous , and smooth Let the
tone s e em spun o ut and elastic
b The obj ect
The obj e ct o f this exercise is to secure control
o f the b re ath and th e muscles of the throat , so
that tone shall be both sm o o th an d re sonant
c
The exercises ,
1
The
breathing
e
xercises
)
(
2
Take
a
long
bre
ath
an
d
sing
the
syllable
t
o
,
()
repeatedly as lon g as possible
(3) R ecite th e following :
Sing

m e nt a

lly

'

Flo w gently , sweet Afton , aman g thy green braes ;

Flow gently , I ll s i n g thee a song in thy praise

Fle x ibility o f tone

a D irections ,
T hi nk a d esc end i ng singin g scale
Sing th at
T hi nk a descen ding sp ea ki ng scale
scale
Sp e ak
th at scal e Be careful to preserve the true r e la
tion of ton e s i n the singin g scale s an d the spe ak
ing scale s
b Th e obj ect ,
Th e obj ect of this step i s t o make the v o ice
exible
c The e xercises ,
First sin g , then speak the descending scales
L ater use th e ascendin g a s well as the descendin g
scal e s Use the following syllable s : t o, t a, t a,
.

t e,

13

or

16, l a, l a , 1e

INT ER P R ET I V E R EA D I N G

194

Volume

of tone
a D irections ,
Thin k o f s omethin g gran d o r vast , o r of an im
m e ns e s p ac e to be lled B r e ath e d e eply Then
let e v e ry muscl e o f th e trunk e nt e r into the effort
of song o r speech
Th e i magin ation should b e
k i nd l e d in order that th e ton e may gain largenes s
o f e xpression
This st e p differs from support o f ton e only in
d e gre e Volum e o f to ne is support of tone e n
l a r ge d
Volume of to ne should have fullness ,
depth , and p ow e r
It d e pen ds upon the physi que
Th e mind must rst con
and up on the mind
c e i v e th e great tone , and th e muscles of t h e r e
sp i r a t o r y an d vocal organs produce it
b The obj e ct ,
Th e obj ect of this step i s to increase th e p o wer
o f th e singin g voice and of the speaking v o ice
0 Th e exercises
(1) Practic e breathing exercises
2
R
ecite
th
e
followin
g
:
)
(
.

An d you , y e ve wild torrents ercely glad !

W h o calle d ye forth from night and utter death ,
From dark an d icy cavern s called you forth ,
D own those pr e cipitous , black , j agged rocks ,

Forever shattered , an d the s ame forever

.

S T
.

C o ler i dg e

Force o f tone
a D irections,
Sin g mentally a str ong , direct , forceful t o ne
Think a speakin g tone
Sing that ton e aloud
that would comm and
Sp e ak that ton e directly ,
strongly, f o rcefully , right o u t L et th e t o ne ex
.

V O C A L C U LT U R E

195

pres s determin ati o n o r will

Speak t o , not a t, an
audience
b Th e obj ect ,
The obj ect o f th i s step is to secure directnes s
a nd str e ngth o f ton e
Th e exercis e s ,
0
Practice
th
e
bre
athing
exercis
e
s
1
( )
n
i
n
g
in
a
full
to
e
I
1
I
1
2
S
O
6
O
6
( )
l
3
ount
slow
y
an
d
with
great
vigor
from
to
C
1
)
(
.

10
.

Tone color
a D irection s,
Hold in min d a j oy o us thought Expres s th at
thought through ton e alone Hold in mind a so r
Expres s th at thought throug h
r o w f u l thought
ton e alon e using only a sylla b l e , as ah , o r o h , o r
In the same way express sur p ris e , fe ar ,
10
warning , distrust , horror , cont e nt vastnes s , di s
tance , harshn e ss , lullaby tone s , cold , warmth ,
fury , e tc
c a lm
R e cit e pass age s o f literature , suiting soun d to
sens e
Th e shading o f the voice sh ould be very
delicate an d very e x act
b The obj ect ,
The obj ect o f this step i s to suit sound to sense ,
or to give e xpression to th e voice
0 Th e ex e rcises ,
1
S
peak
th
e
syllabl
e
1
0 o r o h , expres sin g many
( )
differ e nt shade s of th ought o r f ee lin g
2
( ) R ecite the following , and suit t h e s ound to
the sense :
.

Ho w beautiful t h is nig h t ! The balmiest sigh

W h ich vernal z ephyrs breathe in Evening s ea r,

INT ER P R ETIV E R E A D IN G

196

W ere discord to the speaking q uietude

That wraps this movele ss scene

Heaven s ebon vault
Studded with stars u nutterably bright,
Through which th e moon s u ncloude d grandeur rolls ,
Seems like a canopy which L ove hath spread

T o curtain her sleepi ng world

.

She lley

A heap of bare an d Splint e ry crags

Tumble d about by lightning and frost ,
W ith rifts and chasms and storm bl e ach e d j ags ,
That wait and gr o wl for a ship to be lost
-

R ibs o f rock that seaward jut

Granite shoulders an d boulders and snags ,
R ound which , th ough th e winds in he aven be sh u t ,
Th e ni ght m a r e d ocean murmurs and ye arns ,
W e lters , and swash e s , an d toss e s , and turns ,
An d t h e dreary black sea wee d l o lls and wags
,

J R L owell
.

IV

D I V I S I ON
T HE ORGAN S O F

ARTIC ULAT I O N

The o rgans o f articulation are the lip s , teet h , tongue ,

and hard and soft p alate
C l e arne ss of e nunciation d e p e nds upon th e str e ngth and
precision of position of the se organs in forming th e e l e m e n
tary sounds
Every exercise in r e ading or speakin g sh ould be , indi
re c t l y , an exercise in enunciation
.

*B

Co

y p erm i ss i on

of

t he p

ub l i shers

M e ssrs

Houghton M i i i n
,

PART I V
GEST U R E

c u ltivate d body , as an agent o f e x pression , is an i n

valuable me an s o f conv e ying th ought Action should nev e r
call att e ntion to itself The body should be so trained
that n o on e wi l l think of th e ge sture s of t h e sp e aker while
list e n i ng to a discourse
There should be such h armony
between m in d and body th at g e stur e will illuminate and r e
enforce thought
G e sture m ay be d e ned as a moti o n o f the he ad , trunk ,
or limbs to e xpre s s th ought o r fe e lin g , o r to e nforce an
argument o r comm and
The ag e nts in producing gesture ar e th e muscular syst em
an d the n e rvou s syst e m
The p e culiar function o f the muscles is the p o wer of
contraction
Th e y contract when e ver stimulated , a nd are
therefor e th e motor p ower o f the different parts o f the
body Th e c e r e brum is the originator of nervous force
All emotion origin ates her e The thought o r feelin g thus
origina te d is r e ected in the symp athetic n e rvous system ,
which in turn affects th e spinal c o rd , an d through its
nerves th e spin al cord now stimulates the muscle s
These ,
c o ntractin g , cause action of the body , o r g es tu r e
To culti vat e e xpression o f the body th e muscl e s must be
trained to e xibility , rmness , ste adiness , and harmony o f
m o vement
W hen t h e body is so traine d an d ar o used ,
T HE

INT ER P R ETI V E R E A D IN G

198

B ack of every
there will be muscular response , o r gesture
tru e , every arti stic gesture , must b e thought
Th e e xercises o f P art Fourth ar e arrang e d in the follow
in g groups : D ivision I R e laxin g Ex e rcises ; D ivision I I
Poising Exercises ; D ivision III Princi p les o f Gestur e ;
D ivision I V, R esp o nsive Gesture Ex ercises
.

D I V I S I ON

RELAXI NG

EX ERCISES

The o bj ect o f this se t o f exercise s is to free the m u scle s

of the b o dy so that it will be perfectly exible
.

Exercise s

for the limb s

a The arms an d h ands
o f the arms , fr o nt
R
elaxation
1
( )
a
escription
D
,
( )
Take th e weight on the balls of bot h feet W ith
hands prone (palms downward ) and relaxed , raise
the arms t o th e horizontal p osition , front R ela x
the arms , l e tting them fall lightly and rapidly t o
R epeat
th e sides
The
counts
6
,
()
Weight on balls o f the feet ,
Arms horizontal , front ,
R elax arms,
Arms horiz o ntal , fr o nt ,
R e lax arms
o f arms at the sides
R
elaxation
2
( )
D
a
e
scription
,
( )
W ith h ands prone and relaxed , raise the arm s
to a hori z ontal position at t h e side s R elax the
R epeat
a r ms
.

R ELAXI NG

EX ER C I SES

199

The counts ,
Arms horizontal at side s ,
R e la x arms R epeat
R
ela
x
ation
of
the
arms
by
pivotin
g
at
t
h
e
ankles
3
( )
a
D
e
scription
,
)
(
P ivot the body at the ankles , rst to the rig h t
then left , right , left, front M o ve so rapidly
that the arms are thr o wn o utward
The
counts
b
,
()
Pivot right ,
Pivot left ,
Pivot right,
Pivot left ,
Pivot front
4
ibration
V
o f t h e h an ds
( )
(a ) D e scription ,
R ais e the for e a r m s to a h orizontal p o siti o n front ,
the elbows being j ust b e low the belt lin e , the fore
arms parallel to the oor , and the h ands supi ne
l
B
p
a
ms
upward
y e nergy from the upp e r arm ,
)
(
make the h an ds vibrat e
The hand should be
open and r e laxed dur i ng this e xercise
The
count
6
s,
()
Forearms horizontal , 2, 3, 4 ,
Vibrate hands , 2, 3, 4 , 1, 2, 3, 4
5
R
elaxation
o f the wrists
( )
D
a
escription
,
( )
K eep the fore arms in the positi o n of the pre
v i ou s exercise
Turn the palms downward By
energy from the forearms , sh ake the hands rapidly
up an d down durin g eight c ou nts , shaking the
h ands twice to each count
The
counts
6
,
()
F o re arms h o ri z ontal , 2, 3, 4 ,
b
()

200

INTER P R ETIV E R EA D ING

Up and down , 2, 3, 4 , 1, 2, 3, 4
R
o
tary
m
ovement
o f the hands
6
( )
escription
a
D
,
)
(
K eep the forearms i n th e s am e p o siti o n as i n
the previous exercis e
Swing the fore arms in an
o utward rotary movement during eight c om i t s ,
then in an inward rotary movement during eight
c o unts , cau sing an outward and inward r o tary
movement o f the han ds
The cou nts ,
O ut , 2, 3, 4 , 1, 2, 3, 4 ,
In , 2, 3, 4 , 1, 2, 3, 4
7
Re
laxation
of
the
ngers
( )
a
D
e
scription
)
(
K ee p the forearms i n the s a me p o siti o n as in
the previous exercis e
Turn the hands edgewis e
small
nger
parallel
to
the

o
or
ive
th
e
G
)
(
arms a sh ort , rapid movement u p and d o wn four
t i me s , relaxing the ngers
(b) Th e counts ,
Han ds e dg e wi s e , 2, 3, 4 ,
Snap ngers , 1 2 3 4
b The l e gs an d feet
1
R
elaxation
o f th e l e gs
( )
a
D
escripti
o
n
,
)
(
T ak e the weight on the right fo o t and swing
the left foot forward and backward twice B rin g
the left foot to the side o f the other and tr ansfer
the weight to th e l e ft foot Swin g t he right f oo t
forward an d backward twice
The
counts
6
,
)
(
R ight foot , 2, 3, 4,
L eft foot forward ,
B ackward ,
.

R EL A X IN G

EX ER C ISES

201

Forward ,
B ackward ,
W eight on left fo o t , 2, 3, 4 ,
R ight foot forward,
B ackward ,
Forward ,
B ackward ,
Position at side
o f the le gs
R
otary
swing
2
( )
a
D
e
scrip
ion
t
,
)
(
Take the weight on the righ t foot Swi ng th e
left leg in a circle , rst in front of the body to the
right during th e counts 1, 2, 3, 4 , then return to
th e l e ft during the counts 1 2, 3, 4 , th e n back of
th e body to t h e right durin g the c o unts 1, 2, 3, 4 ,
then return to th e left durin g t he counts 1 2, 3,
4 , in the lin e of th e circle keepin g th e foot fre e
from the oor during the e ntire movement G lide
the left foot to the left o f the right foot durin g
counts 1, 2, and tran sfe r the weigh t to it durin g
the counts 3, 4
R ep e at f o r the rig h t side
n
The
cou
ts
6
,
()
W e ight on ri ght foot , 2 3) 4 }
Swing left foot , 2, 3, 4 1 2) 3) 4
G lide left foot , 2
Transition , 4 ,
Swin g right foot , 2, 3, 4 , 1, 2, 3, 4 ,
G lid e right foot, 2,
Transition , 4
Re
laxation
o f the feet
3
)
(
a
escription
D
,
( )
The w e ight i s alr e ady o n th e righ t foot A d
vance the left foot at the angle of
R ais e th e
to e o f the foot , then lower it until the toe lightly
.

INT ER P R ETI V E R E A D ING

202

touche s the oor D o this four time s T h en re

p e at the exercise for the right f oo t
The
counts
6
,
()
Advance left foot ,
Left foot up , down ,
Up , down
Up , down ,
Up , down ,
W eight on l e ft foot , 2, 3, 4 ,
Advance right foot , 2, 3,
R ight foot up , down ,
Up , down ,
Up , dow n,
Up , d o wn ,
Exercises for the trunk
R
e
lax
ation
of
the
upper
h
alf
of
t
h
e
tr
u
nk
1
( )
escription
a
D
,
)
(
Tak e the w e ight on the balls o f both feet R e
lax the upper half o f th e trunk forward
T a ke
an erect position
R elax backward Take a n
R elax t o the right Take an erect
e rect position
p osition R el a x to the left Take an erect p o si
tion
The
counts
6
,
()
W eight on balls o f feet , 2, 3, 4 ,
Front ,
R ight ,
Erect ,
Erect ,
B ack ,
Left ,
Erect
Ere ct,
2
R
otary
m
ovement
o f the upper half of t h e tr un k
( )
D
a
( ) e scription ,
Th e weight i s already on the balls of t he feet
Re l a x the upper h alf o f th e trunk t o ward the
f r o nt, bendi n g i n fr o nt j ust bel o w t h e stern um
.

EX ER C I SES

R EL A X IN G

203

Then mov e the body in a circl e to the right , back ,

l e ft , front , a nd r e turn D uring this movem e nt
th e cent e r o f th e che st should l e ad , and the trunk ,
h ead a nd arms should b e relax e d
Th
e
counts
b
,
()
Front , 2, 3, 4
Left , 2, 3, 4
R ight , 2 3, 4
2, 3, 4
R ight , 2, 3, 4
Front , 2, 3, 4
Front ,
Left, 2, 3 4
Position , 2, 3, 4
B ack , 2, 3, 4
B ack , 2, 3, 4
(3) R elaxation of the chest
a
D
e
scription
,
( )
Lower the chest as far a s possible , then raise it
as far as p ossib l e , relaxing th e shoulders during
both movements
R e p e at the ex e rcise
n
The
cou
ts
6
,
)
(
D epres s chest , 2, 3, 4 ,
R ais e ch e st , 2 3, 4 ,
D epres s ch e st 2 3, 4 ,
R a i s e chest , 2, 3, 4
3 The head
R
otary
movem
e
nt
of
the
head
1
)
(
n
escri
tio
a
D
p
( )
R e lax th e h e ad to th e front Move the head in
a circle to th e right, back l e ft , front , an d r e turn
This movem e nt should b e st e ady and smooth , and
the muscles of the neck should be relaxed
(b) Th e c ounts
H e ad front , 2, 3, 4 ,
R ight ,
2 3, 4 ,
)
B ack ,
2, 3, 4 ,
,
L e ft ,
2, 3, 4 ,
Front ,
2, 3, 4 ,
.

INTER P R ET IVE R EA D ING

204

D I V I S I ON

II

POI SI NG EXER CI SES

T h e obj ect of t h e se exercises is to strengthen t h e m u s

cles o f th e feet , ankles , and legs , and the muscles o f the
trunk , so that in sitting , standin g , o r walking the b o dy
may be well p oised o r bal a nced
.

poise o f the hips

(a ) D escription ,
Tak e the weight o n the ball of th e rig h t foot
Push the right hip far out at the right Let the
head respon d until it take s the slant of the rig h t
hip
C ontinue pushing in a curve d line backward ,
th e n to th e l e ft , pushi ng the hip far o ut to the left
Let the head respond to th e line of t he left hip
B ring the body to an erect position by raising t h e
chest
Then r e peat the b ackward movement , r e
turning to the rst position at t he right , the hip
being pushe d far out Then raise the ch e st , taking
th e n atural , erect position ov e r the right foot D ur
ing the movement left , transfer the w e ight from
the right foot to the left foot at the cl o se of counts
B ackward

1, 2, 3, 4

This exercise i s intend e d to bring the body i nto

n ormal p oise and to overcome the ten dency to push
the hip s and abdomen f o rward
.

(6) The counts

R ight foot , 2,
R ight hip , 2
B ackward , 2,
2,
L eft,
,

3, 4 ,
3, 4 ,

3, 4 ,
3, 4 ,

R aise c h est ,
B ackward ,
R ig h t ,
R ais e chest ,

2, 3, 4 ,
2, 3, 4 ,
2, 3, 4 ,

2, 3, 4

P O I SIN G EXER C ISES

2

205

T h e stand i n g p o sitions
n
a
D
escriptio
,
()
For ordi nary addres s , reading , oratory , or debat e
ther e ar e three main position s the n o rmal p o
si t i o n,
the advanced p osition , and the retire d
position
.

N OR M A L P O S I T I O N

T HE

Place the feet side by sid e , with the heels slightly

angle of
apart , and th e toes pointing outward , making
about
Place the weight entirely on the
ball o f o ne foot , and let th e l e g that bears
the weight slant ou t ward Th e other foot
should l i ghtly touch th e oor and the knee
should be relaxed R aise th e chest , push
u pward with th e crown o f the head , an d
rela x the arms at th e sides
T his p osition is u s e d f r e
q uently in calm , unimpassioned
discourse
.

A D V AN C ED P O S I T I O N
Advance o ne foot , an d place
FI G 8
N0Pm a l
the weight on the ball of that
P si tion
foot Plac e the heel o f th e r e
tire d foot back o f the heel o f the advance d
foot , a slight distance a p art
Th e t oes
should point outw ard , makin g an an g le of
about 9 0
R ais e the chest , push upward
with th e cro w n o f th e h e ad , an d relax th e
arm s at th e sid e s
This position i s us e d in direct addre ss ,
earne stn es s , or sympathy

Fm

Ad

va nce d p osm o n

IN TER P R ETI V E R EA D IN G

206

R E T IR E D P O S I T I ON
Tran sfer the weight to the retir e d foot The retired
foot w i ll pivot slightly during this transfer , making with
th e to e s of th e oth e r foot an angl e o f about
R aise th e ch e st , push upward with th e
crown o f th e he ad , an d r e lax the arms at th e
sid e s
This positio n express e s repose , o r r e e c
tion , o r will , o r d e t e rmin ation
.

G E N E R A L D IR EC T I O N S

F OR

ST AN D I N G

The weight of th e body should b e on one

foot The hip o f th e l e g that b e ars the
weight sh ould be curv e d out w ard a little ,
an d the lin e th e h e ad takes should b e in
h armony with the slant o f th e limbs W h e n
the response o f th e h e ad is perfe ct, a double
curv e i s thu s formed Th e body should be
FI G 10
Re
er e ct over th e st r on g foot , th e che st high ,
ti ed Po i ti o n
th e h e ad e asily poised , with th e chin drawn
in slightly Th e hip s and abdomen should be well back ,
a nd the shoulders and a r m s relaxed
(6) The counts
Tran sf e r w e ight to left foot
2, 3, 4 ,
R aise chest 2, 3, 4 ,
R elax ch e st, 2, 3, 4 ,
Transition to r i ght foot , 2, 3, 4 ,
R aise ch e st , 2, 3, 4 ,
Re lax chest , 2, 3, 4 ,
Advance left foot
2, 3, 4 ,
Forward , 2, 3, 4 ,
R aise chest , 2, 3, 4 ,
.

P O I SIN G EX ER C I SES

207

R elax chest , 2, 3, 4
2, 3, 4 ,
Advanc e right foot
Forward 2 3, 4
R ais e ch e st 2 3 4
R e lax ch e st 2 3 4 ,
B ackward to l e ft foot , 2 3, 4 ,
R ais e ch e st 2 3, 4 ,
R e lax ch e st 2 3, 4
G lid e right foot bac k 2, 3 4 ,
Transitio n t o right foot , 2, 3, 4 ,
R ais e ch e st 2, 3, 4 ,
Re lax ch e st 2 3 4
O blique transitio n a nd bow
(a ) D escription
Th e w e ight i s alr e ady on th e right fo o t A d
and
vanc e the l e ft foot at th e angl e of about
make th e transition obl i qu e ly forward an d backward ,
bowing th e body slightly in th e backward mov e me nt
Then make th e tr a ns i t i on again to the left foot
Advance the right foot at
an d mak e the t r ansi
tion backward an d forward as b e fore returning t o
an erect position over the right foot at the close
6
The
counts
,
()
A dvanc e l e ft foot 2, 3 4
Forward , 2, 3, 4 , 1, 2, 3, 4
B ackward a nd bow , 2 3 4 1, 2, 3, 4 ,
Erect (ov e r l e ft foot ) 2, 3, 4 :
A dvance right foot 2 3, 4 ,
Forward 2, 3 4 1 2 3, 4
B ackward , 2 3 4 1 2, 3 4 ,
Er e ct (ov e r r i ght foot ) , 2, 3 4
Obl i qu e transition and kne e ling
a
D
e
scription
()
Adv a nce the left f o ot Mov e the body forward
,

INT ER P R ETI V E R E A D IN G

208

t o the left foot durin g counts 1, 2, 3, 4 , and d u ring

the ne x t counts 1, 2, 3, 4 , slowly kn ee l , bendin g
the left kne e , an d touchi ng th e r i ght kn ee to the
oor K neel during fo ur counts R is e slowly ov e r
the left foot Advanc e r i ght foot M ov e the body
forward and kn e el on the left kn ee
R ise slowly
over the right foot
6
The
counts
()
A dvance left foot , 2, 3, 4 ,
Forwar d , 2, 3, 4 , 1 2 3 4
K neel , 2, 3, 4
Hold , 2, 3, 4 ,
R ise , 2, 3, 4 1 2 3, 4 ,
Advance right foot 2, 3, 4 ,
Forward , 2, 3, 4, 1 2 3 4
K neel , 2, 3, 4 ,
Hold , 2, 3, 4 ,
R ise 2, 3, 4 , 1, 2, 3, 4
Ex ercis e for w alk in g
a
D
e
scription
()
The weight is already on the r i g ht f oo t
As
walking is but a s e ries of tr a nsitions all that h as
been le arned from transition e xercise s should be
applied h e r e
Imagi ne e ach foot to swi ng forward
in i t s own l i n e , no t disturbi ng the poise of th e head
o r sh ould e rs
Swing th e l e ft foot for w ard about
twice th e l e ngth o f th e foot the foot b e in g turn e d
slightly outward 30 from th e dir e ct line in front
and touch the b all o f the foot to the oor at the
rst count Then tr ansfe r the weight t o the left
foot Swing th e right l e g forward, and touch the
b all o f th e right foot to the oor Then tr a nsfer
th e w e ight to th e right foot
Take t e n steps forward, counting fou r to eac h step
.

P O I SIN G

EX ER C I SES

209

This e x ercis e should be prac tise d until the w alk o f

the individual is e asy , graceful, an d dignied
The
counts
b
,
()
W eight on right foot , 2, 3, 4 ,
Left , 2, 3 4 ,
R ight , 2 3 4 ,
L eft , 2, 3, 4 ,
R ight , 2 3 4 , etc
Poisin g of the head
a
D
e
scription
,
()
There ar e three movements in this e x e r cise :
.

F I R S T M O V EM EN T
P o ise the head from the e r e ct position toward t h e rig h t
This is the attit u de
c h est letting th e right cheek l e ad
Mov e th e h e ad backward in the same line
o f a ffe ction
toward the back of the l e ft shou ld e r , th e ch e ek bei ng
turned upward This is the atti t ud e of adoration Take
the erect position , th e attitude of life , and repeat this
p oising e xerc i se for the opposite side
.

SEC O N D

M O VEME N T

Push the head back at the crown toward the right shoul
der , letting th e crown o f the head lead This is th e atti
tu de o f d e ance o r will P oise the h e ad forward in the
same l i n e to th e l eft ch e st , u ntil the chin almost touch e s
the ch e st This is th e at t itude o f mentality It may ex
press r e e ction o r sorrow Poise the h e ad to an erect p osi
tion , and repeat the ex e rci s e f o r th e opposite side
.

T H IR D M O VEME N T
P o ise t h e h ead backward t o ward the righ t s ho ulder , let
tin g th e chin lead This i s the attitu de of pertnes s o r dis
.

14

INT ER P R ETI V E R EA D IN G

210

dain Poise the head toward the right chest until the
cheek nearly touches the ch e st , an d the shoulder rises in
r e spon s e
This is the attitude o f timid i ty o r shyness
Poise the he ad t o the ere ct p o siti o n and repeat the e x ercise
f o r the opposite side
Th
e
counts
6
,
()
First mov e ment ,
R ight chest , 2, 3, 4 ,
B ack , 2, 3, 4 1, 2, 3, 4 ,
Erect, 2, 3, 4 ,
Left chest , 2 3, 4
B ack , 2, 3, 4 , 1, 2, 3, 4 ,
Erect 2 3, 4
Secon d movement ,
B ack (right ) , 2, 3, 4 ,
Left ch e st , 2, 3, 4 , 1, 2, 3, 4,
Erect , 2, 3 4
B ack (l e ft ) 2, 3, 4 ,
R ight ch e st , 2, 3 4 , 1, 2, 3, 4 ,
Er e ct , 2, 3, 4
Third movement ,
B ack (right ) , 2, 3, 4 ,
R ight chest, 2, 3, 4 , 1, 2, 3, 4 ,
Erect , 2 3, 4 ,
B ack (left ) , 2, 3, 4 ,
L eft che st , 2, 3, 4 , 1, 2, 3, 4
.

D I V I S I ON
PRI N CIPLES O F

III
G EST URE

The me aning o f gestures of the arm is mo di e d by th e

f o llowing :
1 By the p art that leads ,
2 By the line in which the arm move s,
.

P R IN C IPL ES
!

By

By

By
By

a
s

By

By

the
the
the
the
th e
the

O F GEST U R E

211

angl e of th e a r m ,
altitud e o f th e arm ,
r at e o f m ov e ment ,
d e gr ee o f force of th e movement ,
posit i on o f th e h and ,
response o f the body
.

T HE

P A R T TH A T L E A D S

The mid dle of t h e for e arm should l e ad in th e a r m m o ve

m ents
Th e hand s h ou ld never l ea d exc e pt in the p e rson a
tion of the awkward an d grote squ e
I n movements o f the
trunk the ch e st should le ad
In all f ree a r m g e stu re s the arm should b e straight , but
relax e d , and no t b e nt at the elbow I n c o ll o q uial gesture s
the a r m may be bent at th e e lbow
.

'

T HE

LINE IN

W HICH

TH E

MOVES

AR M

All free arm g e stures a re a r cs o f circl e s

Th e line s in
which th e a r m m ov e s in gestur e ar e the ascen d i n g and
de sc e nding curve d li ne s , the outward and i nward curved
lin e s , and th e spiral line
Th e ascendi ng ge stures ar e e x p r e ssiv e o f e l e vation of
thought f ee l i n g o r p osition
Th e descendin g g e stu re s
are ex p r e ss i ve o f em p h asis d e t e rmi natio n w i ll , o r s ome
thin g lo wly i n thought f ee l i ng o r position
Th e out w a r d g e sture s ar e expre ssive o f sympathy , ma g
na ni m i t y , growth or e x p an s e
Th e i nward g e stur e s ar e e x pr e ss i ve of limitatio n Th e y
ar e mor e p e r s onal a nd subj e ctiv e
Th e S p i ral g e stur e s a re e x p r e ssiv e of wi ndi ng asce nt , as
th e ight o f a bird , th e ris i n g of smoke , th e coil of a ser
pent
-

INT ER P R ET IV E R EA D IN G

212

A N G LE O F TH E AR M

3 T HE
.

Gestures

are modie d by the a ng le o f the arm , o r the

relation that the arm sustains to the li ne directly front from
the shoulder bon e
Gestur e s mad e d i r e ctly front of th e
shoulder bon e , o r at
a r e most direct a nd personal
Those mad e half way b e tw ee n that p oint an d the sid e , o r
.

135

135

FI G 11
.

A ng e

of

G e stur e

'

at
are mo re gen e ral and le ss direct T ho se made at
th e s i d e , o r at
are imp e rso nal an d are suggestive of
greatnes s o r ext e nt Th e oblique b ackward gestures , or
those at
e xpress allusion to the p ast
.

T HE

A L T I T U D E O F TH E AR M

In earne st public spe e ch th e al titude o f ge stu re s o f the

a r m con stantly vari e s from th e low e st plane the hand can
move in at the sid e to th e highe st po i nt the ha nd can re ach
wh e n th e a rm is uplift e d Gestures in the lowest plane
are expressive o f contempt , lowliness , o r addres s to an
inferior Gesture s made in the p lane of the belt a re largely
coll oquial , th o se mad e in th e p lan e of the shoulder h ave
more dignity , but w h en gestures rise in bold c u rve s ab o ve
,

P R IN C IP LES O F

GESTU R E

213

the plane o f th e h e ad th e y expr e ss e xaltation of thought

fee ling , pow e r o r forc e

or

R A T E O F M O VEME N T

T HE

A very slow outward movem e nt may sugge st distance ,

o r a recedi ng obj e ct o r expan s e , o r calm , o r delicacy A
rapid outward mov e m e nt may sugg e st a sh ort duration o f
tim e , rap idity of action, i nt e ns i ty of e xcit e m e nt , o r a short
d i stanc e
A slow outwar d mov e m e nt m ay sugg e st l e ngth
of tim e , calmness g ravity , o r distance
Th e slow mov e ments are grav e a nd stat e l y ; th e rapid
mov e men
ts are vivaciou s , vital , o r e m p h at i c
,

T H E D E G R EE

O F F O R C E O F TH E M O V EME NT

g e st u re m a y be made emph atic by givi ng the i c t us

A g e sture may also be made
o r ge sture prope r with forc e
e mph atic by vibration of the hand by an impuls e o f the
wrist , by wider gamut by b e ing arr e st e d a nd sustained
and by repeati ng it G e stur e s th at ar e ind i cativ e o r d e
scriptive o f quiet scen e s o r experienc e s should b e given
gently
7 T HE P O S I T I O N O F TH E H AND
Any

F
H
and supine (palm upward )
i g 12
( )
This p osition e xpr e ss e s giving , r e c e ivin g , asking ,
sustaining , communicating
a

FI G

12
.

Hand S up i ne

FI G

13

Hand Pr

o ne

Han d prone (palm downward )

Fi g 13
This p osition ex p re ss e s cov e ring , p rotection,
bitiou , depre ssion, force

6
()

p r ohi

INT ER P R ETI V E R EA D IN G

214

n
Ha
d v e rtical (palm outward ,
()
ngers upward ) Fi g 14
This position e xpresse s repulsion ,
revelatio n, o r tak
ing o f an oath
clinch e d
(d ) Hand
ngers
r
e
ss
e
d
into
th
e
p
(
palm thumb p r e s s e d
over th e s e cond j oint of
the rst nger to the
c

FI G

H and
Ve tic al
14

secon d n ger )
Fi g 15
Th i s position e xpresse s will , threat ,
FI G
H and
nc h e d
C
l
i
forc e
e
Hand
in
unemphatic
index
osition
rst
ng
e
r

p
(
()
straight , oth e r ngers pr e s se d
agai nst the palm , thumb pres s e d
against th e side o f the s e cond
nger )
Fig 16
This position expresses u n
F I G 16 U n m p h a ti Ind e
emphatic limitation , d e
P
t on
ni t i o n, o r p o m t m g o ut
Han
d
in
e
mph
atic
ind
e
x
f
)
(
p osit i o n (rst nger straight ,
oth e r ngers p ress e d agai nst the
p alm , the thumb press e d ov e r the
F
I
G
17
Em p h at i c Ind e Po i ti o n
s e con d Oi nt
of the s e co nd nger )
Fig 17
This positio n e x p r e ss e s e m
ph atic limitation , o r d e nition , o r
p ointing out
and
av
e
rt
e
d
han
d
lanting
H
s
,
g
( )
(
Fi g 18
palm away from th e body )
Th i s p osition express e s aver
.

osI I

FI G 18
.

H and Averte d

S 1011
.

P R IN C I P LES O F GESTURE

215

Han d partly clos e d (hand r e

l a x e d , thumb attract e d tow ard the
ngers )
F i g 19
This p osition expre sse s sympa
thy , aff ection , g e ntl e ness
Ha
d
d
i
stend
e
d
ngers
s
e
p
a
i
n
(
()
rate , dist e nded , thumb strongly Op
19 H a nd P artly
F
I
G
p os e d to rst n
C l ose d
ger)
Fi g 20
T his position expresse s v e he
m e nce
H
an d g e ntly cl o s ed (n ger s
(j )
pressed l i ghtly against th e palm ,
thumb stra i ght, press e d gently against
th e rst n
FI G 20 H and D i te nd e d
ge l ) Fi g 21
This position e x p r e s s e s
p ower , o r repose , o r auth or
h
()

i ty

k
( )

Hand edgewise (pal m o f

h and at right angle with the oor ,
FI G 21 Ha nd G entl y C l e d
fo urth nger
p arallel to t h e oor , han d straight ,
thumb free )
This pos i tion expresse s declara
tion o r d e ni
tion
(l) Hands clasp
e d (palms nearly
FIG
1 8 C l as p e d

p arall e l , ngers i n
t e r l a c i ng )
Fig 22
This p osition expre sse s d e ep emo
tion , prayer , or su p p lication
(m ) H a nds folde d (ngers of right

os

216

INTER P RETI V E R EA D IN G

h and plac e d b e tw ee n the thumb and rst nger of the left

hand , thumbs crosse d )
F i g 23
This position e xpresses e ntreaty , o r prayer , or rest
.

R E S P O N S E O F TH E

T HE

B OD Y

In th e response of th e body , nothing is more important

than the r e sponse o f th e ch e st Th e chest rises high i n
vitality o r lif e ; it l e an s toward an obj ect o f vital attrae
tion ; it sinks low an d is oppos e d to an obj ect o f repulsion
or fear ; it ris e s an d broad e n s in will disdain , o r deance ;
it sinks low in s orrow, r e mors e , o r discouragement ; it c on
tracts ln physical o r mental distress
N e xt i n importance in th e response o f the body is the
response o f th e h e a d
In the asc e nding a r m mov e m e nts
the head i s usually attracte d to the arm ; in th e descend
i ng arm movements th e head is usua l ly O p pose d until it
r e ache s the e r e ct p osition The head pivots freely in th e
e xpress i on o f life ; it bends toward the Obj ect in affe ction
o r t e n d e rn e ss ; it pushe s s tron gly back at the crown in dis
dain ; it turn s upward in p rayer o r adoration ; it sinks o n
the chest in s orrow , reection , dej ection , o r de spair ; it
tu r n s towar d the should e r in pride o r indifferenc e ; it turns
from th e obj e ct in av e rsion repulsion , o r distrust ; it bows
low b e for e an obj ect o f s crutiny
Th e fa c e als o respon ds to thought It l i ghts up with
intell i gence , o r becomes b lank thr ough stupidity
The
lower lid i s raised in a ni m M i o n o r amusement ; the u pper
lid is low e re d in affe ction o r sorrow ; th e e ye s op e n wide
in will o r t e rror ; th e brows lower and draw tog e ther in
m e ntality, p erplex i ty , o r rag e
The nostr i ls ar e i m p ortant in facial e xpres sion They
dilat e in strong emot i on ; they cont r act in p ai n The nose
becom e s pinche d i n suffering
T h e m ou th, as well as th e j a w , reveals c h aracter T he
.

PRI N C IP L ES

OF

GEST URE

217

th ought which nds ex p ression in the gesture of t h e arm

nds e xpression in the muscles of th e mouth als o The
lip s slightly part in the center in anim ation o r life ; t h e
upper lip lowers i n the cent e r i n kindliness , tenderness , o r
amus e m e nt ; the lips clos e rmly in will , determination ,
e n e rgy ; th e l i ps push out in sulk i n e ss ; they part in terror ;
th e y become purse d in m e ntality ; th e y op e n vacantly an d
the aw relaxe s in stupidi ty
The feet vary in p osition a s th e th ou ght varies
In a ni
m a ti o n, the w e i g h t si s placed on th e ball of on e foot , o r the
balls o f both f e et In su sp ense o r ex c i te m e nt, th e w e ight is
place d Onthe toes o f the advanc e d foot, with the h ee l o f
the fr e e foot behin d the in step of th e strong foot , with the
to e s o f the f ree foot lightly touching the oor , an d the
knees straight In i ntensi ty of i nte r es t, the w e ight is placed
on the toe s o f the advanc e d foot , with the knee o f the a d
v a nc e d l e g slightly ben t a nd th e f ee t some distance apart
In r ep ose o r r e ec ti on, th e w e ight is placed on th e h ee l of
th e foot that i s bac k, with th e knee of the strong leg
straight and the fre e l e g b e nt o r r e laxed
In d e a nc e o r
h a u g h ti ness o r sc o r n o r w i l l th e weight i s place d on th e
h e el o f the foot that is back , with the free leg w e ll a d
v a nc e d an d the kne e o f e ach l e g straight
In p r o str a ti o n
or r e c o i l, th e weight i s plac e d on the heel o f th e foot that
is back , with th e f ee t far apart , an d the body Su nk low
upon the s t rong l e g a nd the free leg strai ght
In d efer
e nc e t o a s up e r i o r , the h ee ls are ne ar together , toes poi nt
outward , and weight on to e s of both feet
In se r vi li ty ,
the fe e t are nearly p arall e l and clos e togeth e r with the
weight on the to e s of both fee t , a nd k nee s slightly b e nt In
i ns o l enc e , th e w e i ght is on th e h ee ls of both f ee t , the feet
far apart , and th e to e s pointing outward
In vu lga r i ty the
weight is place d on th e balls o f both feet , which are far
ap art , the toe s pointin g outward
.

INT ER P R ETI V E R EA D IN G

218

D I V I S IO N

IV

RESPON SIVE G EST U R E

*
X
E
R
CI
E
S
E
S

The followin g e xercises are applications o f the preceding

pri nciple s At rst these ex e rcises Should be practised for
precisio n, s t e adi ne ss a nd smoothn e ss o f mov e m e nt Th e n
th e y should b e practis e d to s e cure diff erent kinds o f r e
spons o This should b e follow e d by o r iginal work and
analysis o f gestures
D es cr ip ti ve g estures are e i t h e r i nd i c a ti v e o r i m i ta ti ve
Th e y ar e i nd i cative wh e n they p oint out locat e , o r picture
They ar e i m i ta ti ve o r sym p a the ti c wh e n th e y act out what
is b e i ng d e scrib e d
Imitat i v e g e stur e s ar e usually i na r t i s
tic They are permiss i ble only wh e n th e y a re the result o f
st r ong e mot i o n I n such a ca se , th e y add vivi dness and
life to th e de scriptio n Imitativ e gestur e s should not be
co nfuse d with p er s ona ti o n
1 G e sture s o f salutation afrmation o r assertion , and
c heer i ng
a
D
e
scription
,
( )
Take the w e ight o n th e ball of the right foot
R ais e th e right arm at th e a ngl e o f 0 to the head ,
the h an d being supine an d relax e d in the upward
movement
A s the h and ap proaches th e head , the
ng e rs Should droop toward th e h e ad the index
ng e r l e ading , a s though desig nating self This is
a g e stur e o f s a lu ta ti on
Move th e arm downward
in the s ame curv e , m a i ntain i ng a curve of th e arm
from the sh ould e r to th e ng e r tips , until th e arm
is relaxe d at the sid e Th i s downward m ovement
i s the gesture o f ai r m a ti on
W hen given wi th
.

Fo r

Nev in

mu si cal acc omp anime nt

use

Narc i ssu s

by

Ethel b er t

GESTU R E EXER C I SES

219

emphasis , it is fo r ci ble d em a nd
It can be made e m
ph at i c by a st r on g mov e m e nt from the wrist R e
p e at the upward and dow nward mov e ments Swing
th e right a r m from th e right Sid e acros s th e front of
the body in a curv e d l i n e , up abov e an d ov e r and
beyond th e h e ad a nd th e n giv e th e arm two rotary
swi ngs abov e th e h e ad as in a ch ee r At the clos e
o f the s e con d s wi ng , mov e th e arm out at the an gle
an d lower to th e S i d e
of 45

R e peat the ch ee r mov e ment

Then rep e at th e whol e e x e rcis e for the l e ft sid e
T
h
e counts ,
6
)
(
R i g ht foot , 2, 3 4
R ight arm up (s alutatio n) 2 3 4 , 1, 2, 3, 4 ,
D own (a frm at i o n) , 2, 3, 4 , 1, 2, 3, 4 ,
.

U p . 2, 3. 4 , 1, 2. 3, 4 .
D ow n, 2, 3, 4 , 1, 2, 3, 4 ,

O v e r (ch ee r ) 2 3 4 , 1 2, 3, 4 ,
D ow n, 2, 3, 4 , 1, 2, 3, 4
O v e r , 2, 3, 4 , 1 2 3, 4 ,
D ow n, 2, 3, 4 1, 2, 3, 4 ,
G lid e l e ft 2,
Transition 4 ,
L e ft arm up 2 3, 4 , 1, 2, 3, 4 ,
D ow n, 2 3 4 1, 2, 3 4 ,
,

U p ) 2: 3: 4 : 1: 2) 3) 4 )
D own , 2, 3, 4 , 1, 2, 3, 4 ,

O ver , 2, 3, 4 , 1, 2, 3, 4 ,
D ow n, 2, 3, 4 , 1, 2, 3, 4 ,

O ver , 2, 3, 4 , 1, 2, 3, 4 ,
D own , 2, 3, 4 , 1, 2, 3, 4

2 G e s t ur e s
.

dir e ct e ntr e aty as s e rtio n or afrmation

n
ir
e
ctio
s
a
D
,
( )
Take the weight on the balls of the feet W it h
of

220

INT ER P R ETI V E R EA D IN G

h ands supin e , arm s rel a xed , a nd forearm s leadin g

rai s e t h e a r ms directly in front to th e plane o f t h e
head
O n count 3 give a sl i g ht impuls e t o the
hand s to str e ng th e n th e e xpr e ssion o f e ntr e a ty
Low e r th e arms slow l y to th e sid e s on the cou nts
down 2 3 4 The dow nward mov e ment expr e ss e s
a sse r ti o n o r af rmatio n
I n th e downward m ove
ments th e wrists should curv e downward
b
Th
e
counts
,
)
(
B oth f ee t , 2, 3, 4 ,
B o t h arms up , 2, 3, 4 , 1, 2, 3, 4 ,
D ow n, 2, 3, 4
3 G e stur e s expre ssive o f com m and to b e silen t , o r calm ,
prohibition , o r destruction
a
D
ir
e
ctions
,
( )
Tak e th e weight o n the ball of the right foot
W ith hand pron e an d relaxed , an d forearm l e adi ng ,
raise the r i ght arm at 0 to th e plane o f the shoul
der Mov e t he pron e h and slo wly outwa rd in th i s
plane to about
th e n low e r ge ntly to the sid e
The outward impulse o f the h an d expre sse s a c o m
m a nd t o be s i le nt
Move th e arm upwa r d again at
At th e last count 2, give a Short , rapid , em
ph atic strok e downward to the sides
u nts
Th
e
co
6
()
R i ght foot 2 3 4 ,
R ight arm up 2 3, 4 ,
O ut (silence ) 2 3, 4 ,
D ow n, 2, 3, 4 ,
Up 2 3, 4 1, 2
D ow n (to s i des
Prohibiti o n o r de struction ) 4
Glide l e ft foot 2
Tra ns i t i o n 4
,

221

G ES TU R E EX ER C I SES

Left arm up , 2,
O ut , 2 3 4 ,
D own 2, 3 4 ,
,

3, 4 ,

U P) 22 3: 4 ) 1: 2:
D ow n, 4

g e stur e s o f command to be silent , calm o r

diff u sion , prohib i tion o r destruction , and benedic tion
(a ) D irections ,
T ake the weight on the balls of the feet With
h ands p r o ne a nd forearm s leading , r ais e the a r ms at
At the
0 to a point dir e ctly in front o f th e ch e st
Count 4 , move th e a r ms slowl y outward to about
a s in th e preceding e xercise This gesture expresses
a command to be silent Then lower to the side s
R ai se both a r ms with h ands p r on e , at
to the
level o f th e h e ad , th e n lower emph atically to the
sides
This gestur e expresses de struction W ith
h an ds p r on e , rais e both arm s at 0 to the plane of
th e head , op e n th e palms a s though they w e r e o a t
in g on air
This is th e ge stur e o f benedicti o n
Sustain a moment , then lowe r to the sides
The
counts
6
,
()
B oth feet , 2, 3, 4 ,
B oth arms up , 2, 3, 4,
4

D ouble

O ut , 2, 3, 4 ,
D own , 2, 3, 4 ,

U P, 2, 3, 4 , 1, 2,

to
sid
e
s
),
(

D own

4,

U p ) 2: 3: 4 2 1: 2: 3: 4)

Hold , 2, 3 4 ,
D own 2, 3, 4 , 1, 2 3, 4
5 G estur e s o f sacred deprecati o n , s o lemn pledge , reve
l ati o n, o r rep u lsi o n
,

INT ER P RETI V E R E A D ING

222

( )
a

D irections

Take th e w e ight on the ball of the rig h t foo t

W ith h and pron e , mov e the a r m directly up i n
front at 0 until it reache s the level o f th e head
At th e last cou nt 3, raise th e h and to a v e rtical p o
sitiou with the p alm facing front This is the ges
ture o f sacred d e precation , etc
Sustain the posi
tion duri ng four counts , then move the arm sl o wly
down to the side
b
Th
e
counts
,
)
(
R ight foot , 2, 3, 4 ,
R ight arm up , 2, 3, 4 , 1, 2, 3, 4 ,
Ho l d , 2 3, 4 ,
D own , 2 3, 4 , 1, 2, 3, 4,
G lid e l e ft foot , 2,
Transition , 4 ,
L e ft arm up , 2, 3, 4 , 1, 2, 3, 4 ,
Hold , 2, 3, 4 ,
D own , 2, 3, 4 , 1, 2, 3, 4
Ge stu re s of listening an d playful warning , or threat
(a ) D ir e ctions ,
Take th e w e i g ht on the ball o f the ri ght foot
With hand e dgewis e and relax e d , mov e the ar m
upwa r d at 4 5 toward the cheek until the h and is i n
front o f th e cheek , p alm to w ard cheek, hand p artly
closed, with the ind e x nger leading This is the
gesture o f listening
W ith th e hand still in t h e same position , move
the a r m directly down at 4 5 to about the level o f
the belt , givin g two impulses to the wrist on the
counts 1 and 3, l e ttin g the face and body re spon d
as though giving a playful warning or threat Then
slowly lower the arm to the side and repeat the
m o vement
.

GESTUR E EX ER C I SES

223

The counts ,
R ight foot , 2, 3, 4 ,
R ight arm up , 2, 3, 4 1, 2, 3 4,
D own (to belt line ) 2, 3, 4 ,
D own (to side ) , 2, 3, 4 ,
G lid e left fo o t , 2,
Transition , 4 ,
L e ft a m up , 2, 3, 4 , 1, 2, 3, 4,
D own (to b e lt lin e ) , 2, 3, 4 ,
D o w n (to si de ) , 2, 3, 4
G esture o f parallelism o r comp arison
a
ir
e
ctions
D
( )
T ake the weight on the balls of both f e et W ith
h ands e dgewise , m ov e both a r ms upwa r d at 0 to
about the Shoulder le vel , givi ng a downward i mpulse
o f the wri sts f o r e mph asis at th e close of the ascent
Th e n r e p e at this e mphatic strok e th e gesture o f
compar i son Turn the hands to a p r on e position ,
a nd slowly lower them t o the sides
(6) The counts ,
B oth feet , 2, 3, 4 ,
B oth arms up , 2, 3, 4 ,
Impulse , 2,
I mpuls e , 4 ,
D o w n , 2, 3, 4
Th e gesture of supplication o r sublimity
a
D
ir
e
ctions
,
( )
T ak e the weight o n t h e ball o f th e right fo o t
W ith th e h an d supin e and r e laxed raise the arm at
an an gle of 4 5 t o a p oint high above the h e ad At
th e close o f this upw ard movem e nt the h and shou l d
be op e ne d as though about to r e c e ive som e th i ng
The thought of su p p l ication o r p ray e r o r sacr e d a s
c r i p t i o n Should be held i n min d until face an d form
b
()

INT ER P R ETI VE R EA D I N G

224

resp o n d , an d there i s unity throughout the body

Move the a r m slowly down to the side , with o ut
turning the arm R epeat fo r the left side
The
counts
6
,
)
(
R ight foot , 2, 3, 4 ,
R ight arm up , 2, 3: 4 : 1
Hold , 2, 3, 4 , 1, 2, 3 4 ,
D o wn , 2, 3, 4 , 1, 2, 3, 4 ,
.

U p : 22 3: 4 : 1: 2: 3: 4 :

Hold , 2, 3, 4 , 1, 2, 3, 4 ,
D own , 2, 3, 4 , 1, 2, 3, 4 ,
G lid e l e ft foot , 2,
Transition , 4 ,
L e ft arm up , 2, 3, 4 , 1, 2, 3,
Hold , 2, 3, 4 , 1, 2, 3, 4 ,
D own , 2, 3, 4 , 1, 2, 3, 4 ,

4,

U p . 2. 3. 4 . 1. 2. 3. 4 .

Hold , 2 3, 4 , 1, 2, 3, 4 ,
D own , 2, 3, 4 1, 2, 3, 4
9 The double ge sture o f supplication
a
D
irection
s
,
( )
Take the weight o n the balls o f the feet
W it h
hands supine and relax ed , raise both arms at 4 5 to
th e ir gre atest height
Sustain the hands du r in g
four counts , then lower the arm s t o the side s
T
h
e counts ,
6
()
B oth feet , 2, 3, 4 ,
B oth arms up , 2, 3, 4 , 1, 2, 3, 4 ,
Hold , 2, 3, 4 ,
D o wn , 2, 3, 4 , 1, 2, 3, 4
10 D escriptive gestures of ris i n g and falling , and up
wa r d designati o n
a ) D irections ,
(
Take t h e weig h t o n t h e ball of the r ight fo o t
,

GES TU R E EXER C ISES

225

W ith th e h and prone a nd r e laxed , raise the arm at

the angle o f 4 5 to its gr e ate st height , letting the
w hole body r e sp ond to the upward movement At
the close o f th e ascent the a r m and he ad should a p
proach e ach other , and the hand and ngers be
r e laxed Mov e th e arm i n th e s ame lin e down t o
the sid e
I n th e downward movement the ngers should
not be l i fte d Th e h an d should remain in i ts droop
i nt i l th e wrist is depr e ss e d and lowers
i ng p o si t i o nn
the han d
Then th e h an d should b e spread open
d se e m to oat downward on the air
R aise and
an
lower th e arm again
At th e close o f the secon d
upward mov e m e nt raise the hand l e tting the rst
nger and thumb b e straight and th e other ngers
relax e d This is th e g e stur e o f upward designation
Re peat for left side
6
The
counts
,
)
(
R ight fo ot , 2, 3, 4 ,
R ight arm up , 2 3, 4 , 1, 2, 3, 4,
D own , 2, 3, 4 , 1, 2, 3, 4 ,

U P: 2; 32 4 : 1: 2: 3:

D o wn , 2, 3, 4 , 1, 2, 3 4

Glide

left foot , 2,
Transition , 4 ,
Left arm up , 2, 3, 4 , 1, 2,
D own , 2, 3, 4 , 1, 2, 3, 4 ,

3, 4 ,

U p : 2) 32 4 2 1: 2: 3: 4 :
D own , 2, 3, 4 , 1, 2, 3, 4

11

and

D escriptive

gestur e s o f th e risin g of somethin g vast

something vast

the fallin g o f
a
( ) D irections ,
Take the weight on the balls of t h e fee t W it h
th e h ands prone an d relaxed , rais e b o th arms at 4 5
.

15

INT ER P R ETI V E R EAD IN G

226

to their gre atest h e ight Lower th e arm s slowly t o

the side s R epeat th e upward and d o wnward m o ve
ments
Th e counts ,
B oth f ee t , 2 3, 4 ,
B oth arms up , 2, 3, 4 , 1, 2, 3, 4 ,
D own , 2, 3, 4 , 1, 2, 3, 4 ,
.

U p . 2. 3. 4 . 1. 2. 3. 4 .
D own , 2, 3, 4 , 1, 2, 3, 4

ge stures ex pressive of el e vation of t h ought

o r f e eling ,
magnitud e , vastness , p arallel rep u lsion , e n
treaty , succ e ssive r e p u ls i on , an d dej ecti o n
a
D
irections
,
)
(
T ake the w e ight on the bal ls o f the fee t With
h ands p r on e and r e lax e d , r ais e the arm s at 0 t o
th e ir full height abov e th e he ad W ith hands su
pine , mov e the arms downward a t 90 to th e sides
W ith h ands supine , r e
a ge stu re o f m agnitude
tu r n to a p oin t directly over the he ad At this
point t he w r ists sh ould curve inwa r d an d the nger s
b e nd outward , forming the curves o f an oriental urn
Turn the palms outward , so that th e han ds will be
prone in the next m ov e m e nt
L ow e r both arm s at
90 t o t h e sid e s
a g e sture o f magnitude coupl e d
with s e paration
R ais e th e m again to a point di
r e c tl
At this plac e the backs o f
y over the head
the wrists should curve toward each other and the
ngers ben d outward
Turn the palms toward the front , push strongly
forward and downward the ge sture o f p ar al lel r e
pulsion R ais e th e arms again to
high ov e r the
he ad The n mov e the a r ms in succ e s sion from that
height to the ri ght should er l e vel the g e stur e of
succe s sive repulsion D roop the h ands a nd m ove
12 D ouble
.

GESTU R E EXE R C I SES

227

the arms up in fro nt o f the he ad , d u rin g counts 2

At the se cond count 3 fold th e
3, 4 , 1 2, 3 4
hands th e gesture o f e ntr e aty Unfo l d th e hands ,
the n m ov e the arm s in succ e ssio n f rom that height
to th e l e ft shoulder l e v e l
R eturn to th e position of
entreaty Un fold the hands
Turn th e p alms downwa r d a nd lower th e arms
I n this last downward mov e
at 0 to the sides
ment the face and b o dy sh o uld express d e j e c
tion
6
h
e counts ,
T
()
B oth feet , 2 3, 4 ,
B oth arms up
2, 3, 4 , 1, 2, 3, 4 ,
magnitud e ) 2, 3, 4 , 1, 2, 3, 4 ,
D own
vast uplifting ) 2, 3, 4 1, 2, 3, 4 ,
Up
vast falling depth ) , 2, 3, 4 , 1,
D own
,

2, 3, 4 ,

Up
D own

vast rising ) , 2, 3, 4 , 1, 2, 3, 4 ,
double repulsion ) , 2, 3, 4 , 1, 2,

Up

2. 3. 4 . 1. 2. 3. 4 .

D own ,

successive repulsion ) ,

right

3, 4 ,

2, 3, 4 , 1,

2, 3, 4 ,

Up
entreaty ) , 2, 3, 4 , 1, 2, 3, 4 ,
D own , left
successive repulsion ) ,

2, 3, 4 , 1,

2, 3, 4 ,
2, 3, 4 , 1 2, 3, 4,
Up
D own
d e j e ction ) 2, 3 4 , 1, 2, 3 4
13 G e stures of d i rect addr e ss , o r challenge , o r q u e s
tion ; e xte nsion o f t i me o r place ; app e l lation ; d e claration ;
myste ry or lim i tation ; rej ection ; negati o n o r denial ; d e si g
n ation o r d e scr i ption
a
ir
e
ction
s
D
,
( )
Tak e th e weight on the ball of the right fo o t
With the hand supine , raise th e arm directly
,

INT ER P R ETI V E R EA D IN G

228

front
almost to the level of th e shoulder
This e xpre ss e s d i r ec t a d dr ess, c ha l leng e , o r qu es

ti o n

W ith h and still supine , mov e the arm outward

h orizontally to
This e xpr e ss e s e xte nsion of
tim e a nd place , o r i nc lu si ve a d d r ess
At
tu r n th e palm so that th e h and will b e
edgewise an d th e palm toward th e body in th e r e
tu r n mov e m e nt Mov e th e arm st e a d ily back to the
opposit e sid e o f the ch e st , letting th e hand , with th e
ind e x ng e r le ad i ng , ap proach the ch e st Th is is
the gesture o f app e lla ti on
W ith h and still ed g e wis e and the back of the
fore arm leadin g , mov e th e arm outward h orizontally
to
This is th e g e stur e of d ec la r a ti o n R e turn
to the position at th e Opposite sid e of the ch e st ,
with palm toward th e chest This is th e gesture
o f m ys ter y o r l i m i t a ti o n
Turn the p alm outward and mo ve the ar m out
ward t o
D uring this outward movement the
h e ad sh ould m ov e i n the opposite d irection from the
arm This outward arm mov e m e nt i s the ge stur e o f
r ej e c ti o n
W ith the hand in the same position , mov e
th e a r m back to p osition ov e r the ch e st
Turn th e palm downward an d mov e the arm out
w a r d to 90
D uring this mov e m e nt th e h e ad
should move in th e opposite direction This is the
ge stur e of neg a ti on or d eni a l
W ith the han d still p r on e , mov e the arm b ack
to the chest
W ith hand prone and index nger
straight , mov e the a r m o ut horizontally to
let
t i ng the he ad mov e i n resp ons e in th e sam e d i r e c
tion This i s the gesture of designation or d e sc r i p
ti o n
.

GESTU R E EXER C I SES

At

229

lower the arm to the side

R epeat these gesture e x ercise s for t h e left side
The
counts
6
,
)
(
R ight foot, 2, 3, 4 ,
R ight arm up (hand su p ine ,
D irect address ) ,
.

2, 3, 4 ,

O ut (hand supine ,
Extension o r g e neral a d
dress ) , 2 3, 4 , 1, 2, 3, 4 ,
App e lla
R e tu r n (hand e dgewise , pal m i nward
tion ) , 2, 3, 4 , 1, 2, 3, 4 ,
Arm out (h and e dgewis e , back of han d outwa r d , 4 5
D e claration ) 2, 3, 4 ,
R e tu r n (hand e dg e wise ) , 2, 3, 4 ,
Arm o ut (hand edgewise , p alm o utward ,
Re
,

j e c t i o n) 2, 3, 4 , 1, 2, 3, 4 ,
R eturn (hand e dge wise ) , 2, 3, 4 , 1, 2, 3, 4 ,
Arm out (han d pron e ,
Negation or denial ) ,
,

2, 3, 4 , 1, 2, 3, 4 ,

R e turn (hand prone ) , 2, 3, 4 , 1, 2, 3, 4 ,

Arm o ut (hand p r on e
D e signation ) ,
D own , 2, 3 4 ,
Left foot, 2,
Transition , 4 ,
L e ft arm 2 3 4
O ut , 2, 3, 4 , 1, 2, 3, 4 ,
R e turn , 2, 3, 4 1, 2, 3, 4 ,
Arm o u t , 2, 3, 4
R e turn 2 3, 4
Arm out , 2, 3, 4 , 1, 2, 3, 4,
R e turn , 2, 3, 4 , 1, 2, 3, 4 ,
Arm o ut , 2, 3, 4 , 1, 2, 3, 4 ,
R eturn , 2, 3, 4 , 1, 2, 3, 4 ,
Arm o u t , 2, 3, 4
D o wn , 2, 3, 4
,

2, 3, 4 ,

I NT ER P R ETI V E R E A D ING

230

gestur e s o f dir e ct and e mphatic presentation

an d u niversality ; separation combin e d with the ide a o f
vastn e ss ; e xpan sive cov e ring , calm , o r diffusion
n
D
ir
e
ctio
s
a
,
)
(
Tak e th e w e ight on th e bal l s o f the feet Vl i t h
hands supi ne , rais e the a r ms at 0 almost to the
level of the shoulders This i s th e gestur e o f d i r ec t
and em p ha ti c p r esenta ti o n W ith th e h ands st i ll in
th e supin e position, mov e th e a r ms outward horizon
tally to
This is th e g e stur e of gener a l a dd r ess ,
o r universality Turn th e palms inward R eturn
to a p osition at arm s l e n gth dir e ctly in front o f the
chest D o n ot chang e th e p osition o f the h ands ,
e xcept to l e t th e m follow the l e ading o f th e fore
arms
Move th e a r ms outward to
This is
also a ge sture o f e xt e nt R e turn to p osition directly
Tur n th e palms outward , and
i n front o f th e ch e st
move the arm s o u t h orizo ntally to
This is the
gesture of s ep a r a ti on and impli e s vastne ss R e tu r n
to front position
Tur n the palms downward , an d move t h e arms o ut
Thi s is th e gesture o f exp a nse, o r e x
wa r d to 90
t e nsiv e c o ver i ng calm or diffusion
L ower th e a r ms from 90 to the side s
The
counts
6
,
()
B oth feet , 2, 3, 4 ,
0 Pr e sentation ) , 2,
B oth arms up (hands supin e
14

D ouble

3, 4 ,

Arms

out

(hands supin e

90

Universality ) ,

2, 3,

4 , 1, 2, 3, 4 ,

hands
edgewise
palms
inward
Limita
0
(
tion ) , 2 3, 4 , 1, 2, 3, 4 ,
Arms out (hands e dgewise , palms inward
90
Ex tent ) , 2, 3, 4 , 1, 2, 3, 4 ,

R e tu r n

GESTU R E EX ER C I SES

231

R eturn (hands edgewise , palm s inward ) ,

2, 3, 4 , 1,

2, 3, 4 ,

(hands edgewise , p al ms outwar d

Se paration ) , 2, 3, 4 , 1, 2 3, 4 ,
Re turn (hands e dgewise , p alms outw ard ) , 2,
Arms

o ut

90

3, 4,

1, 2, 3, 4 ,

Arms

h
ands
p
r
on
e
(

ou t

90 C alm

or

d i ff usion )

2, 3, 4 , 1, 2, 3, 4 ,
2
hands
prone
3
4
,
,
(
15 Emphatic gestures expressin g a comman d to go an d
a command to come
a
D
irections
)
(
Take th e w e ight o n t he ball o f the right foot
W ith the han d p r on e , mov e th e a r m in a bold cu r v e
from the sid e , up and over in the plane o f the sh oul
der , outward from the body This should be a ge s
tu re of forc e and should b e accompanied with r e
spou s e o f th e body This i s th e g e sture of com
man d to go
Th e h e ad should b e turn e d toward t he
obj ect addressed , and th e g e sture be made i n the
di re ction o f th e m e an s o f exit
From th e last position describe a d o wnward cu r v e
toward th e body
This ge s t ure e x pres se s th e com
mand to come The glance sh o ul d still be toward
the obj ect addressed
The
counts
6
)
(
R ight foot 2 3 4
R ight arm out (comman d to go ) , 2,
R eturn (comman d to come ) , 4
Glid e left foot 2,
Transition 4
Left arm out (command to g o ) 2,
R eturn (command to come ) 4
16 Gestures o f invitation to go an d invitati o n t o c o m e

D own

INT ER P R ETI V E R EA D ING

232

( )
a

D ire ctions ,

Tak e th e weight o n the ball o f t h e r igh t foo t

Swing the arm gently in a downward a r e from the
sid e outward This is the invitation to g o At the
close o f this g e sture swing the arm up an d o ver in
an upward arc the h and with th e inde x nger
promine nt moving toward th e face This
an i n
vi t a t i o n to come
(6) Th e counts
R ight foot 2, 3 4 ,
R ight arm o u t (u nder ) 2,
R ight arm r e turn (over ) 4 ,
Glide l e ft foot 2
Tran sition , 4 ,
Left a r m out (under ) , 2,
Left arm r e turn (o v er ) , 4
.

O UTLIN E OF C OURSES OF STUDY

ELO C UTI O N

F I R ST W EEK
T h e respiratory and vocal o r gan s
The interpretation of literature
L iterary analysis

P hys i o l ogy
L ec tu r e

W EEK

B r ea thi ng

Ex ercise s

breathin g
R e a d i ng
Gestur e

f o r u pper an d middle c h est

Vo ca l Cu ltu r e

T H IRD

R e a d i ng

SE C O N D

Placing tone
Literary an alysis
R elax ing e x ercises

W EEK

B r e a thi ng

Exercise s

the lungs

Voc a l Cu ltur e
R ea d i ng

Gestur e

fo r l ower c h est an d ape x e s o f

Placing t o ne Pervasiveness o f t o ne
Sequ e nce o f thoug h t
R elax i ng exercises

F O U R T H W EEK
B r ea thi ng

Fo u r e x ercise s
Voc a l Cu ltu r e
Supp o rt of tone
R e a d i ng
C learness t h e elementar y s ou nds
B ackward p o ise of the hips an d standin g
Gestur e
p o siti o n s
.

O UT L IN E O F

234

C O U R SES

F I F T H W EE K
R ecital from st a nda r d lite r atu r e
L e ss o n s in criticism

OF

S TU D Y

SI XT H

W EEK

F ou r e x ercises
Smoothne ss
Vo c a l Cu ltur e
D rill i n m o lding elementary
R e a d i ng
C learness
sounds
D rill in vigor of enunciati o n
D rill i n s p acing of words
D rill in enunciation o f nal wo r d s i n sentences

Hamlet to the Players

Study o f
O bli qu e tr a n
Gestu r e O blique transition and bo w
si t i o n an d kneel i n g
B r ea thi ng

SE V E N T H

W EEK

B r e a thi ng

Four e x ercise s
R evie w four step s
Vo c a l Cu ltu r e
R e a d i ng
Form s o f emph asis
D enition of emphasis
Emphasis of melody
Emph asis of inection
Emphasis o f slide
Pr e paratory e x e r cise fo r walking
Ges tu r e
P o ising o f the he ad

EI G H T H W EEK
B r e a thi ng

F o ur e x ercise s
R eview rst f ou r
Vo c a l Cu ltu r e
Form s of emphasis
R ea d i ng
Emphasis of volume
Emphasis of forc e
Emp h asis o f p au se
R eview
Gestur e
-

ste p s.

O UT L IN E O F

C O U R SES O F STU D Y

N I N T H W EE K
R eviews and writt e n te sts three day s
Tennyson recitals two days

235
'

T E N T H W EEK
Tennys on recitals
C riticism o f ren derin g
.

ELE V E N TH
Fqu r exercises
'
Flexibility
Vo c a l Cu ltur e

B r ea thi ng

R ea d i ng

Gestur e

W ord p ictures
Principle s

T W ELF TH W EE K
Four e x ercise s
Force
Volume
Vo c a l Cu ltu r e
Atmosphere
R e a d i ng
R esp onsive exercise s 1 t o 5
Gestu r e
B r e a thi ng

T H IR T EE NTH W EEK
Fou r e x e rcise s
B r e a thi ng
Tone col o r
Vo c a l Cu ltu r e
R ea d i ng
Tone color
R e sponsive e x erc i ses
Ges tu r e

t o 11

F O U R T EE NT H W EEK
Four exercise s
B r e a thi ng
R eview volume , fo rce an d tone col o r
Vo c a l Cu ltu r e
R hythm Mov e ment
R ea d i ng
R esponsive exercise s 12 to 16
Ges tu r e
-

F I F T EE N TH W EE K
R ecital from standard literature to illustrate w o r d
pictur e s and atmosphere in delivery
C riticism
.

C O U RSES

O U T LI N E O F

236

ST U D Y

OF

W EEK
Four e x e r cises
B r ea thi ng
R eview rst fo ur ste p s
Vo c a l Cu l tu r e
R hythm
Movement
R ea d i ng
R esponsive e x ercise s 1 t o 8
Gestu r e

SI XT E EN TH

W EEK
Four e x ercise s
B r ea thi ng
R eview last fou r ste p s
Vo ca l Cu ltu r e
R ea d i ng
Personation
Gestu r e
R esp on sive e x e r cise s 9 t o 16

SE V E N T EE N TH

W EEK
B r e a thi ng
Four e x ercise s
R evie w eight step s
Vo c a l C u ltur e
Pers o nation
R e a d i ng
R e view resp o n sive e x ercise s
Gestur e

EI G HT EE NTH

N I N E T EE NT H W EEK

R ecital o f selecti o n s f r o m Sh ake spea r e s dr a ma s

W EEK
R eviews a nd e x amin ati o ns

TW EN T I E T H

INT ER P R ETA T I O N O F

T HE D R AMA

F I R S T W EE K
The r espiratory a nd v o cal o rg ans
Placing tone Pervasivenes s
Vo ca l Cu ltu r e

R ea d i ng
The R ivals , Act II , Scene I
tion o f play t o b e interp r ete d by the c l a s s
c l o se o f the term
P hysi o logy

SEC ON D

W EEK

B r e a thi ng

Four e x ercise s
Voc a l Cu ltur e
Placin g t o ne Pe r v a si vene ss

R ea di ng
T h e R ivals , Act II I Scene I
.

Sele c
at

th e

O UT LIN E O F
Gestu r e
Ex t e m p

Principl e s

neou s

or a

L ike It

C O U R SES

ST U D Y

OF

237

Sp e a ki ng

T h e pl o t of

As

Y ou

of the term play

R e hea r sa l

T H I R D W EEK

e xercise s
Support of tone
Smo o thnes s
Vo c a l C u ltur e

A s Yo u Lik e It , Act I , Scene III

R ea d i ng
R es po nsiv e e xercise s 1 t o 5
Gestu r e
The hist o ry of the drama
L e c tu r e
B r e a thi ng

Four

F O U R TH W EE K
F 0ur e x ercise s
R e view rst fou r step s
C u l tu r e

B r ea t hi ng

Voc a l

R ea d i ng

A s Yo u Lik e It Act V , Scene I

R esponsive exercises 6 to 11
The structure of the dram a
of term play

Gestu re
L e c tur e

R e h ea r sa l

F I F T H W EEK
Four exercise s
R evi e w four step s
Voc a l Cu ltu r e
Hamlet s rst soliloquy
R ea d i ng
R esponsive exercises 12 to
Gestu r e
Ex tem p o r a ne ou s Sp e a ki ng
The pl o t
R e hea r sa l of the term play
B r ea thi ng

16

of

H a mlet

SI XTH

W EE K

B r ea thi ng

F o ur exercises
Fl e xibility
Vo c a l C u ltu r e
Hamlet s rst solilo quy
R ea d i ng
R e v i e w o f responsive e xercises
Gestur e
L ec tur e
The str u c t u re o f the scenes of the dr am a

O UTLIN E O F

238

C O U R SES

OF

STU D Y

SE V E N TH VVEE K
B r ea t h i ng

Four exercise s
Flexibility
Vo ca l C u l tu r e

R e a d i ng
Hamlet , Act
Scene I V
Gestu r e
Pantomime
P e rson ation fr o m life An
alysis o f th e person ation

Ex t em p o r a neo us Sp e a ki ng
The str u ct u r e o f Ham

let

W EE K
R ehears als

EI G H TH

of

t h e t e r m play

N I N T H W EE K
B r ea thi ng

F 0ur exercises
Vo c a l C u ltu r e
Volume

R ea d i ng
Hamlet , Act I Scene I V
Pantom i m e
Personation fro m l i fe
Gestu re
o r a ne ou s S e a ki n
Informal discussion of the
p
g
t er m play

T E N T H W EE K
R evi e ws and examination s

ELEVE NTH W EE K

exercise s
Vo c a l Cu l tu r e
Volume

Julius C ae s ar
Act IV , Scene I I I
R ea d i ng
Pantomim e Person ation from life
Ges tu r e

The plot of
Juli u s
Ex tem p or a ne ou s Sp ea ki ng

C aesar
B r e a th i ng

Four

T W ELF TH W EE K
B r e a thi ng

Fo ur

exercises
D irection of tone
Vo c a l Cu ltu r e

Macbeth , Act
R ea d i ng
Scene V

Pantomime P e rsonation of Shakespeare s

Gestu r e
Analysis of the personation
c ha r acters

C O U R SES

O UT L INE O F

O F ST U D Y

239

Th e plot of Macbeth
of the t e rm play , with stage bus i ness

Ex te m p o r a ne ous Sp e a ki ng
R e h ea r s a l

T H I R T EE N TH W EE K
Four e xercise s
B r e a t h i ng
Force
Vo c a l Cu l tu r e

Macbeth , Act V , Scene I

R e a d i ng
Pantomim e P e rsonation of Shakespe are s
Gestu r e
ch aracte rs
The characte r s o f Mac
Ex tem p o r a ne o ug Sp ea ki ng
beth and L ady Macbeth

F O U R T EE NTH W EE K
B r e a th i ng
Four exercise s
Ton e color
Vo c a l Cu l tu r e

R e a d i ng
Macb e th, Act V Scene I

Pantomime Person ation o f Shakespeare s

Ge s t u r e
characters

Ex te m p o r a neo us Sp e a ki ng
The str u ct u re o f M a c

beth

F I F T EE NTH W EE K
e x ercises
Tone color
Voc a l Cu ltu r e
Antigo ne
R e a d i ng

P a ntomi m e Pers o nati o n o f Sh akespeare s

Gestu r e
charact e rs
L e c tu r e
Antigone
R e h ea r s a l o f th e term play , wit h stage busines s

B r ea t h i ng

Four

SI XT EE NTH

W EE K

Vo c a l C u l tu r e

Prese ntatio n

of

by g r oups o f
Stage business

R eview

Julius
students

Caesar ,
.

Act I V

Scene

I II

O U T L IN E O F

24 0

C O U R SES

OF

S TUD Y

W EE K

Pr e sentation o f
Macbeth , Act
group s o f students
Stag e busines s

SEVE NT EE NT H

Scene V

by

W EE K

Pre s e ntation of Macbeth , Act V

groups o f students
Stage busines s

EI G H T EE N T H

Scen e

by

N I N E T EE N TH W EE K
Eoc tem p o r a ne o u s Sp e a ki ng

on th e foll o win g subj ects :

The History o f the Ancient C lassical D rama
History of the English D ram a
The Structure
Structure of th e English D rama
o f Sc e nes of th e D rama
Es sential s of D ramatic Interpretation
C haracter Studie s from the Term Play
.

T W E N T I E TH W EE K
Presentati o n o f th e term play
B oo ks

Human Life in Shak e speare

Sni d e r , D enton J T h e Shakespe arian D rama
C oleridge , Samuel T : Sh ak e sp e are and the D rama
Giles

t i st s

Moulton , R ichard
t i st

Shakespeare

as a

D ramatic

Ar

Moulton , R ichard G The Ancient C lassical D rama

Freytag, Gustav : Techniqu e of th e D ra m a
History of the English D rama
G olden , W E
D owde n, Edward : Shakespe are
Schlegel , A W v o n : L ectures on D ram atic Art a nd
L iterature
J a meson , Mrs : C haracteristics of Wo men
.

O UTLIN E O F

C O U R SES

STU D Y

OF

24 1

Mabi e , Hamilton W : Shakespe are : Poet , D rama

t i st , and Man
P ortrait s o f Shakesp e ar e
Vo l I
Shak esp e ariana
Hudson : Shak e sp e ar e s Lif e Art an d C haract e r
W arn e r : English History i n Shakesp e are s Plays
.

OR AT OR Y

F I R S T W EEK
P hys i o l ogy

R e a d i ng

The respiratory an d vocal organs

D ir e ctnes s
Toussaint L Ou ve r t ur e

SEC O N DW EE K
Four

exercises
L e c tu r e
Structure of th e oration
R e a d i ng
Vigor or strength
Pr i ncipl e s
Ge s t ur e
R e ad o ne oration and give
E a te m p o r a ne o us Sp e a king
b i ography o f e ith e r the Earl of C hatham o r W illiam
Pitt
B r e a th i ng

T H I RD

VVEE H

F 0ur ex e rcises
Placing tone Pervasiveness
Vo c a l Cu ltu r e
Ser i ousn e s s
R ea d i ng
R e sponsiv e e xercise s 1 to 5
Gestu r e
o r a ne ou s Sp e a ki ng
R ead on e oration and give
b i ography of C harle s Jame s Fox o r R ichard B rins
l e y Sh e ridan
B r e a t hi ng

F OURT H

VVE EH

B r e a t hi ng

Four exercise s
Vo c a l C u l t ur e
Sup p ort o f tone
R e a d i ng
Allianc e with the audience
Ex te m p o r a neous Sp e a ki ng
R e ad o ne oration an d give
biography of Edmund B urke

16

24 2

O UT L IN E

O F C O U R SES

F
O S TUD Y

F I F TH VVEEK
R e citation o f memorized oratorical sel e ction s of the
t e xt book C riticism by teacher C ommendation
an d sugg e stio n
-

S I XTH VVE E K

Four exerci se s
Smoothn e ss o f tone
Vo c a l C u l t u r e
Pe rsuas i on
R e a d i ng
R e spo nsiv e ex e rcis e s 12 to 16
Ge s t u r e
Ex te rnp o r a ne o u s Sp e a ki ng
R ead o ne oration and give
biography of Henry Grattan o r D aniel O C onne l l
B r e a t hi ng

SE V E N TH VVEE K

Four exercises
Smoothness
Vo c a l C u ltu r e
Persuasion
R e a d i ng
B r ea t hi ng

of

t o ne

Ex tem p or a neou s Sp ea ki ng

R ead o ne oration and give

biography of L o r d Erskine o r John B right

EI G HTH W EE K

Four exercis e s
Fl e xibility
Vo c a l Cu ltu r e
R e a d i ng
Volum e
R e vi e w r e sponsiv e exercises
Ges tu r e
E x t em p or a ne o us Sp e a ki ng
R e ad o ne oration a nd give
biograp hy o f Lord B e a c ons e l d o r W illi am Ewart
Gladsto ne
B r e a thi ng

N I NTH W EE K
F 0ur ex e rcises
Volume
Vo c a l C u ltu r e
R e a d i ng
V olume
Ges t ur e
R evi e w principl e s
B r ea thi ng

T E N TH W EEK
D ebate
.

of

gesture

O UTLINE O F
ELEVE NTH

C O U R SES OF STUD Y

24 3

W EE K

Four exercises
Force o f tone
Voc a l Cu ltu r e
D i r e ction o f voice
R ea d i ng
O rig i nal work g e stures of e mph asis
Ges t ur e
Giv e biograp hy o f S amu e l
E x te rnp o r a ne o u s Sp e a ki ng
Adams , o r Jame s O tis , o r F i sher Ames
B r e a thi ng

T W ELF TH

V
VEEK

Four exercis e s
Vo c a l Cu l tu r a Ton e color
Vigor o r strength
R e a d i ng
O rigi nal work in connection wit h d e livery
Gestu r e
of orations
Accomp anying ge sture , sugg e stiv e
g estur e , arr e st e d gestur e
Ex tem p or a ne o u s Sp ea ki ng
Give biography o f Patrick
Henry o r Alex ander Hamilton
B r e a t h i ng

T H IR T EE NTH W EE K
Four e xercises
B r e a thi ng
Ton e colo r
Vo c a l C u l tu r e
Se riousnes s
R ea d i ng
O rigin al work Paragraph and clima x in
Gestu r e
ge sture
Ex tem p o r a ne o u s Sp e a ki ng
R ead o ne oration an d giv e
biography of John C C al houn o r D aniel W ebst e r

F O U R T EE NTH W EEK
Four exercises
B r e a t hi ng
Tone color
Vo c a l Cu ltu r e
Volume
A lliance with the audi e nce
R e a d i ng
O riginal work Appeal , invectiv e , chal
Ges tu r e
lenge , accusation, etc
Ex tem p or a neous Sp e a ki ng
R ead o ne o ration an d g iv e
biography o f Henry C lay, o r R ufu s C h o ate , o r R ob
e rt Y Hayne

O UT L I N E O F

24 4

C O U R SES

OF

S TU D Y

F I F T EE N TH W EE K
R e cital o f e xtracts f r om great orations

C riticism

W EE K

SI XT EE NTH

e xercises
Ton e color
Volume
Vo c a l Cu ltu r e
P e rsuasion
R e a d i ng
D e scriptive p antomim e from dictati o n
Ges t ur e
R e ad o ne oration and give
Ex te m p or a ne o u s Sp e a ki ng
t h e biography o f Edward Everett or W endell P h il
lips
B r e a t h i ng

Fo u r

W EE K
B r ea t hi ng
Four exercise s
R e view an d explanation of st e ps in
Vo c a l Cu ltu r e
voic e work
R ea d i ng
Volume
D e scr i ptive pantomime from dictation
Ges tu r e
Ex tem p or a ne o u s Sp ea ki ng
R e ad one Oration a nd giv e
bio g raphy of C harl e s Sumn e r, o r H e nry W ard
B eech e r , o r Phillip s B rooks , o r H e nry W G rady

SEVE NT EE NTH

EI G HT EE NTH W EE K
Ex t e m p o r a ne o u s

tory

Sp ea ki ng

The essentials of ora

After dinner speeches

N I N E T EE N TH W EE K
R e cital o f oration s written an d mem o rized d u ring th e
t e rm
.

T W E NT I E T H W EEK
R eviews a nd e x amination s
B o o ks

T h e W orld s Gr eat O rations

A d am s , C harle s K en dall (edito r ) : R epresentativ e
B ritish O rations
J ohnston , Ale x ande r (edito r ) : Am e r i c a n O r a ti o ns

O UTLINE O F

C O U R SES

OF

S TUD Y

24 5

Hardwicke , Henry : History of O ratory and O rators

Se ars , Lor e nzo : T h e History of O ratory
Holyoak e , Georg e J Public Sp e aking and D e bate
G e nung J F : R hetoric
Mead , W E El e m e ntary C omposition and R hetoric
Th e Pr i ncipl e s of Argum e ntat i on
B ak e r G eorg e P
Live s of the orators in histori e s o f Am e rican and Eng
lish literatur e
Liv e s o f the American orators in
T h e Americ a n St a tesmen Series
.