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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 .
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
.
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 .
H o ughton M it i n
, C o ; the Fleming H R e vell C o m
. .
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 To T HE UND E R
STANDING
Chap te r I Li terary analysi s
. 1
C ha p ter II Se q ue nc e o f t h ou ght
. 8
C h ap t er I II C learne ss o f e nu nc iati on
. 15
C hap ter I V Forms o f em p hasis
. 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
. 29
C hap te r II Atmosp here
. 61
Chap ter III T one c olor . 84
Cha p ter IV Rhy thm Movement
. . 95
Chap te r V Personation
. 109
W ILL
Chap ter I D ire c tne ss
. 143
C ha p te r II Vi g or o r stre ng th
. 149
Chap ter III Seri ou sne ss
. 15 8
C ha p t er I V Al l ianc e w i th t he au d i e nc e
. 163
C ha p t e r V Pe rsuasi o n
. 166
:1 CON TENTS
Pa r t S e c o nd
BR EA T HI N G
DIVI SION I
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 I
T H E VO C A L O R GANS 184
D IVISI O N II
T HE PR O D U C T I ON O F T O NE 190
D IVISI O N III
VO C A L 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 I
R ELAXIN G EXE R C I SE S
1 Ex er c i se s f o r th e l imb s
. 198
a . T he arms a nd hand s 198
b . T he l e g s a nd f ee t 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 204
2 . Stand ing p o si ti ons 205
3 . O b l i q u e t ransi ti on a nd
4 . Transi ti on a nd kneeli ng 207
5 . Pre p aratory e xerc i se f o r w alki ng . 208
6 Poi si ng of 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
'
si o n o r d e stru c t i o n
, 220
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
, 221
" 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
S p , g , ,
oath 221
Ge st ure s O f l iste ni ng p layful warning o r threat
, 222
G esture O f p aral lel i sm 223
G e sture o f su p p l i cati on o r su b limi ty . 223
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 . 224
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 ,
sio n e ntrea ty a nd d ej e c ti o n
, ,
226
13 . 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 ,
g e ne ra l a dd re ss ; a p p e ll a t i o n d e c lara ti o n my ste ry t e
, , ,
j ec t i o n n e,g a t i o n o r d e ni a l de si g nat i o n
,
227
xi i C O NT ENT S
PAG E
14 . D ou b le gestures of 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
PAG E
LIT ER A RY ANA LYSI S
A Chri stmas Invi tat ion C harle s D i ckens 2
T he C hee rfu l Lo c ksmi th C harl es D i c ke ns 5
SE Q U E NCE O F TH O U GHT
Lord C hatham s T B Mac aul ay
. . 8
T h e Rho d ora Ral p h W al d o Emerson . 11
T h e Fall of Ant w e r p J ohn LOthI Op Motley
. 12
FO RM S O F EM P HAS I S
Lo chinvar Si r W al ter Sc o t t 22
T h e Ap o stro p he t o t h e O c ea n . Lord Byron 26
Sp ee ch o f He nry V . Shake sp e are 26
T h e Lo st C hord Ad elaide Pro c te r 28
W ORD PI C T U R E S
T h e Fau n O f Prax i tel e s Nathanie l Haw thorne 30
M oonli g ht on the Alhamb ra W ashi ng ton Irv i ng 33
A C hri st m as a t Bo b C ra tc h i t s
. Charle s D i c kens 36
T h e W i t ch s Cav e rn Lord Ly tt on
41
Beau ty Ral p h W aldo Emerson
Jean Valj ean a nd the B i shop , Vi c tor Hu g o 49
Par t I
Jea n Val j ean a nd t he B isho p , Vi c tor Hu g o 56
Par t II
T he Ri m e o f th e Anc i e nt Mar ine r S . T Coleri d ge
. 58
xiv IN D EX O F SELEC TIO NS
PAG E
ATMOSP HE RE
T he Ride for Li fe Charles G ordon 61
Hymn b efore Su nri se , i n t he Val e
o f Chamou ni S T Coleri d g e
. . 67
T he Sunri se W illi am W ord sworth . 69
T h e Su nse t W i lliam W ord sworth . 70
Psal m XXIV B i ble
72
T h e O p e n Sky J ohn Ru ski n 73
C l oud B e au ty J ohn Ruski n 75
Pi p p a Pa sse s Ro ber t Browning 78
Eno c h Arde n Lord Tennyson 81
T O NE CO L O R
Ap p l edore James Russell Lowe ll
W h en t h e Cow s Come Home M rs Ag nes M i tchell
. . 86
D i sc ord (Paradi se Lo st) J ohn M ilt on 88
C onc ord (Parad i se Lo st) J ohn Mil ton 89
T h e Catara c t b f Lodore Rob er t Sou they 89
T he Cu l p ri t Fa y J ose ph Rodman Drake 92
RHYTHM . M O VEME NT
O de C e c i lia s Da y
o n St .
John Dryden . 95
Come int o th e G ard en Maud , . Lord Te nnyson 98
T h e Charms O f Rural Li fe W ashing t o n Irv ing 100
Fl ow G ently Sw ee t Afton
,
Rob ert Burns 103
Lu cy W i ll iam W ord sworth 104
Lu c y W illiam W ord sworth 104
To a Skylark Pe rcy B She l ley
. 106
PE R S O NAT I ON
The Ri val s Ri chard B . She ri dan
. 109
Ac t Scene I
T h e Ri val s Ri chard B . She ri dan
. 113
III
Ac t .
, Sc ene I
As Yo u Li ke It . Shake sp eare 117
Ac t Sc ene III
AS Yo u Li ke It . Shake sp e are 121
Ac t V , Sc e ne I
.
PAG E
Haml et Shake sp eare 124
Ac t I .
, Sc e ne I V
J u l iu s C ae sar Shake sp eare 128
Ac t IV Sc ene III
Macb e th Shake sp eare 132
Ac t I .
, Sc e ne V
M acb e th Sh a ke sp ear e 135
Ac t V .
, Sc e ne I
Antig one So p ho c le s 137
Sc ene I
Ny d i a a nd Io ne Lord Lyt ton 14 1
OR AT O R E D I REC TNE SS
T ou ssa i nt L O u v e r tur e
W endell Phill i p s 144
Ex trac t f ro m Re p ly t o Hayne D aniel W e b ste r 14 6
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 W il liam M c Ki nl e y 14 9
T h e Chara c te r o f Edward Evere t t 152
Nap ol eon Bonap arte Charl e s Phi ll ip s 155
SE RI O U SNE SS
G e ttysb urg Addre ss Ab raham Li nc oln 158
Fare w e ll Add re ss G e org e W ashi ng ton 159
PE R S U AS I O N
Sp ee c h Ameri canWa r
o n t he Lord Chatham . 166
True Elo q ue nc e D anie l W e b ste r 169
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
. 17 0
Ex tra c t from th e Se c ond Bunke r
Hill Monume nt Oration Dani e l W e b ste r 17 2
T he B e tte r Par t Booke r T W ashing ton
. . . 17 4
PA R T I
IN TERPR ET I VE R EA DIN G
'
T HE 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
.
D IV I S I ON I
IN T ERPRET IVE READ ING THAT APPEALS TO T HE
U N DERST AN DI NG
C HA P T ER I
L i t e r a r y A na l y s i s
o u read with a ni m a ti o n
y .
S EL E C T I ON S
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
.
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 !
.
C hristmas a humbug , uncle ! s aid Scrooge s nephew ,
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 3
Uncle ! plea de d the n e ph e w .
K eep it ! rep e at e d Scro oge s nephew Bu t you
.
don t keep it .
Let me leav e it alone , then , s aid Scrooge Much
.
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 .
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 ,
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 ?
Good aft e rnoon ! said Scroog e .
I am sorry , with all my h e art , t o nd you so resolute .
An d A Happy New Ye ar !
G ood afternoon ! said Scroog e .
C H AR LE S D I C KE N S (adapted ) .
L ITER A R Y AN A L Y SIS 5
SU G G E S T I V E Q U E S T I ON S
the selection ?
3 How i s the C hristmas invitation introduc e d ?
.
Of Scroog e ?
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
. .
10 N otice the n e phew s tri b ut e to C hristmas
. W h at
.
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 .
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
o ff his Shining forehead the e asiest , freest , happiest man
in all th e world .
thes e w e re the i r proper sph e r e o f actio n Plac e s of dis
.
C H AR LE S D I C KE N S (adapted ) .
D IV I S I ON I
C H A PT E R II
Se q u e nc e Of Th o ug h t
S E L E C T I ON S
L ORD C HA T HAM
S ELO Q UEN C E
wh at h e was goin g to s ay Indeed h is facility amounted
.
'
T B M ACA U L A Y
. . .
T HE RHO D ORA
R A L PH W A LD O EM E R S ON .
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
.
p arapet o f the outer w all into the moat below , whence , still
o n h orseback , he e scape d with lif e F e w w e r e so fortu nate
. .
Fro m
T he Rise o f th e Dutc h Re pub l lc . b y Jo h n Lo thro p Mo tl e y
. B y pe r
m iss i o n or Ha rp e r 3: Broth e rs .
SEQ U EN C E O F TH O U GHT 13
J O H N L O TH R O P M O T LE Y .
D I V I S IO N I
C H A PT ER III
C l e a r ne s s of E nu nc i a t i o n
s o unds.
G R O UP I
T h e E l em e ntar y S ou nd s
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
D iacritical marks a r e the c h ar acters u sed to designa te
th e vari o us so unds o f v o wel s a nd c o ns o nants .
macr o n bar
breve cedilla
di aeresis se m i d i ae r e si s
se m i d i ae r e si s suspended b ar
t i lde brace
A caret tilde
dotte d bar
T H E EL EME NT A RY S O U N D S
a as i n M ay a as i n c ar e e
a as in m at a as in senate
a as in ask a as in many e
a as i n arm e as in b e I
a as in all 6 e as i n m et
a as in th ere 5
a a s in wh at O .
C L EA R N ES S O F EN UN C IATI O N 17
i n f r n z z
'
C y
)
as i O as I n w Or m 1
:
e as i n they z a 6 6 as in l oop l
l O l
l u
e as i n e v e nt 66 as in l Oo k
0 2 u
i as in i sl e :
y 0 as I n O bey
in w i n z
y
I as 11 as i n m ut e
z66
<
as in machi ne
'
e ii as in m ul l
1 O
u as in rud e
in i dea
'
i as
u as i n ful l
O a s i n note
u as i n fi nit e
O as i n G Od z a U as i n rn o
o as i n d o : OO u y as in my i
o a s 1n so n = u
,
y as in m yt h I
i n wo l f z z
O as ob u '
as in m yrrh 8 l
l
1
O a s in f dr : a y as in h yena
D ip hthongs
Oi or oy as in O il , toy ou or o w as i n ou t .
o wl
C o ns o na nt S o unds
b as in bin k as in kick
s as in re ceive 1 a s in loop
0: k as in c o me m a s in m o o n
2 a s in s uf e as i n no
c
t sh a s in C hi m ney n ng in b ank
as
ch s h as in Ch amois ny as in c a on
! k as in c h ronic p as in pray
d as in do ph f a s in ph o nic
v as in of k as in pique
(1 01
)
f as in f o r kw as in q u ill
j as in ge m
g i g as m 80
trille d r as in st r o n g
L z h as i n mirage glid e r as in fern
gh 3 f as in laugh
.
z as in ri ! e
h as in have s as in sin g
j dz h as in j oy t as n
i n te
18 IN T ER P R ETIV E R EAD ING
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 zh as in azure
wh (h w) as i n w h en
C O GNA T E S
s a me p o siti o n f or both .
T a bl e f
o C ogna tes
k z
h sh
M o ld i ng E lem ents
Mold with the l ip s th e words in the following sentences :
1 . Merry maidens m ake mirth .
3 d o d a d oo d e
.
4 . I f) 1 a r e. r e
C LEA R N ESS O F EN UN C I ATI O N 19
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 a nd F i na l C o ns o na nt
S ou nd s Of t h e F o l l o w i ng W or d s :
G overn , gi v e , ga g gi ng ,
.
T ool tur n test , w e pt
, , ,
L o ng , l o o k , lake , mull ,
G RO UP III
A v o i d R u nni ng W or d s T o g e th e r
E XER C I S E S
1. 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 .
2. H e cri e d , a s ra ging s e as ar e wo nt to roar ,
W h e n wintry storm hi s wrathful wreck do e s threat .
4. C ome , now a roun d e l a nd a fa i ry so ng .
20 INT ER P R ETIV E REA D IN G
5 . That y ou have wronged me doth app e ar in this .
8 . Hast thou a ch arm to stay the m o rning star in h is
st ee p course ?
9 . D ust as we are , the immortal Spirit grows like har
mony in music .
10 . Fair seed time h ad my s oul , and I grew up
Fostered alike by beauty an d by fear .
wicke d dr e ams abu se the curtaine d sleep .
G R O UP I V
E nu nc i at e C l e ar l y th e F i na l W or d i n E a ch S e nt e nc e
Practice reading Hamlet s Advice to the Players .
S E L E C T I ON S
it .
S HA K E S P E AR E
.
D I V I S I ON I
C HA PT E R IV
Fo r m s of Em p h a si s
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 b
y ou ng g
i n
9
a
O, come o ut of the !
best ;
the
all wide
Thro u gh t he steed
no,
And save hi s g oo d 7
he we a p ons h a d O0
90 .
So
in i n war ,
There
/
was like the young Lochin I,
e
t
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 voi e
q
from the main pitch up or down , thu s : Shall you
I
insinuation .
dO
R isin g circume x : O h , y o u A hear !
SI R W A L T E R S C O TT .
T H E SL I DE .
SI R W A L T E R S C O TT .
V O L U ME .
L O R D B Y RON .
F ORCE .
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 ; -
Straining
u pon the start The game s af o ot :
.
Shyl o c k ! Asi d e!
How lik e a fawning publican h e l o oks !
.
I f I forgive h im !
SH A K E S P E AR E .
T HE P AU S E .
before y o u u tter it .
Fo re m p hasi s of p au se , read
The Ballad of Baby B elle ,
by
T . B Aldri ch
. .
28 INT ER P R ETI V E R EA D IN G
T HE LO ST C HORD
A D EL A I DE P R O C T ER .
D I V I S I ON II
I W ord picture s
. .
II A tmosphere
. .
IV R hyt hm
. Movement
. .
V Personation
. .
C HA PT E R I
W or d Pi c t u r e s
29
30 INT ER P RETI VE R EA D ING
S E L E C T I ON S
T HE FAU N O F
upon his sh ould e r falls half way down his back , leaving
e xpelle d .
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
o f all these was compressed long ago , and still exists , within
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 33
As I was r amblin g 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
*
C o p i ed
from Pu tnam s late st e d it ion o f
The Alhamb ra it
, as
3
34 INT ER P R ETI VE R EA D IN G
the distanc e .
win do w .
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
Spirit , s aid Scrooge submissiv e l y , conduct me wh e re
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
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 .
38 INT ER P RETIV E R EA D IN G
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
.
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
C r a t c hi t s, who were everywh e re at once Hid e , Marth a, .
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 ,
in g roun d .
Not com i ng , said M r s C ratchit
. .
N o t coming ! said B ob with a sudden declen sion in
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 .
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 .
A s goo d as gold , s aid Bo b , and b e tter Some h ow ,
.
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
'
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
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 .
to t a ke th e pudding up , an d bring it in .
h alf qu a rte rn o f
ignite d brandy , an d be dight with C h r i st
-
a o
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
.
,
Then Bo b propose d : A m e rry C hristmas to us all , my
dears G o d bl e ss us !
.
C H A R LE S D I C K E N S (adapted ) .
T HE W IT C H S
C AVERN *
living thin g save the owl , th e fox , the toad , and the vi p e r
I one .No .
Wi tc h Ar e ye m arried ?
.
Gl a u cus N ot s o
. .
Wi tc h Ho , lovers ! ha ! h a ! h a !
.
Wi tc h D i d I laugh ?
.
Gl a uc u s Sh e is in her dotage
. .
Wi tc h Thou liest
. .
Gl a u cu s Hast th ou dw e lt h e r e long ?
.
Wi tch . Ah , long ye s
.
ar e pr e p ar i n g wrath f o r ye above .
Wi tc h Th ou wilt do w e ll
'
Trouble m e no mor e .
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 .
thou art cursed ! May thy love be blaste d may thy name
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 .
Ra l p h W ald o Emerson .
W O R D PI CT U R ES 45
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 ,
-
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 .
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 ,
.
R A L P H W A L D O EME R S O N .
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 .
a s if h e had not compr e hend e d , that will not d o Di d .
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
.
di na r y
. H e began stamm e ring like a lunat i c .
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
.
The n yo u do not want me to p a y ?
N O , sa i d th e bisho p ,
k ee p your mon e y How long .
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
.
52 INT ER P R ETI V E R EA D ING
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 ,
This lamp gi v e s a V ery bad light , the bishop continued .
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
.
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 .
Ye s , said th e bishop you h ave com e from a plac e o f
,
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
, .
0 O O O
nothing but a miner s c andl e stick Th e convicts at that
.
PAR T 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 .
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 .
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
?
p late
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 57
Go od Lo rd ! it is stol e n , and that m an wh o c am e last
n i g h t is the robb e r .
Ah ! ther e y o u ar e he s aid , looking at Jean Val j ean
, .
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 ,
?
back here That is a mistake .
In that case , the corp oral conti nued , we can let him
,5
O f course , th e bish op an sw e red .
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
.
58 I NT ER P R ETI V E REA D IN G
Now , said th e bishop , go in p e ace .
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 e an my brother , you no long e r b e lon g to e vil ,
,
VI C T OR H U GO .
Adapted from Le s M i ser a bl e s
.
PA R T II
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 .
Upon th e sl i my se a .
SA M U EL T A Y L OR C O LE R I D G E .
D IV I S I ON II
C HA PT E R II
A tm o sp h e r e
lines . Let your thou ghts dwell o n the lines Re cit e them .
what you sa y .
S EL E C T I ON S
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 .
*
Re p ri nted by p ermi ssion from T h e Ma n from G lengarry
.
T h e wolve s ar e o u t B a na l d , Sh e s aid , carel e ssly , as
,
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
Nonsense , R a na l d ! bri ng up the pony D O you think .
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
-
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
-
B e quat e , N igg e r , will you ! Th e dogs , who knew
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 .
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 ut ar e you going up through th e bush ? aske d D o n .
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
.
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 -
C o me , R a na l d ! C ome away , y ou can talk to D on a ny
64 IN T ER P R ETI V E R E AD ING
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
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
- - - -
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 .
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
.
Go d preserv e u s ! said R a na l d to himself H e had .
W hat di d you sa y , R a na l d
The voice was qu i et
?
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 .
sh e no t ?
glanc e d over his should e r D own the road , run
.
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.
and n e v e r stop . Bu t th e r e was no ne e d ; th e po ny was
wild With f e ar , a nd was doing h e r b e st ru nning .
non e too s oon , for th e pursuing pack , now utt e rin g sh ort ,
s hrill yelps , wer e clos e at th e colt s h e els Liz e tt e , ee t
.
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
.
5
66 INT ER P R ETI V E R EA D IN G
s afe.
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
. .
th e po ny .
Oh , R a na ld ! She p ante d , th ank Go d you are safe
.
/
I V va s afraid yo u you
H e r voic e broke i n sobs .
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 .
forget this !
Oh , p Sh a w ! said B a na ld , awkwardly .You are
b e tter stu ff than I am Y o u cam e back w i t h Bugle
. And
.
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 67
S T C O LE R I D G E
. . .
T HE SU NRISE
N o thanks h e b r e a th d , h e p r o ff e r d no request ;
T HE SU N SET
PSALM XXIV
A PS A L M O F D A V I D .
T HE OPEN SKY
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
.
JO HN R U S K I N .
C L O UD B EAU T Y
ne st ?
O r those wa r clouds that gathe r on the horizon , dragon
-
PIPPA PA SSES
(A l a r e,
g m ea n, a i vg/c h a
'
m ber . A gi r l, P ipp a , fr o m t he
s il k
y r i wgi ng
s o ut o
f be d .
)
Day !
Fas t er and more fast ,
O er n i ght s br i m day b oils a t last :
,
, ,
M e , w h o a m on l y Pi pp a ,o l d ye ar s sorrow
-
The ye ar s at the spring
And day s at the morn ;
M orning s at seven ;
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
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 .
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 .
Swear , adde d E noch sternly , on the book .
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
Si t , listen . Then h e told her o f his voyage,
Hi s wre ck , hi s lonely life his com i ng back ,
,
W oman , disturb me n ot no w at the last ,
B ut let me hold my p urpose till I die .
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 ,
,
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 .
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
S EL E C T I O N S
AP L E D OR E ,
P 1
*
See La ni e r S c i e nc e o f E ngl ish V e rse
s
.
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 .
T O NE C O L OR 85
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 *
*
By p e rm i ssi on of th e p u b l i sh e rs M e ssrs
,
. A . C . M c C l ur g Co .
T O NE C O L OR 87
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 , -
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
JO HN M I L T O N .
T H E C ATAR AC T O F L O D O RE
Hurry skurry-
. Here it come s sparkling ,
And there it lie s darkling ; n ow smoking and froth ing
Its tu m ult and wrath in , till in this rapid race
,
R O B E R T S O U T HE Y
.
T H E C U LPRIT FAY
Sw i ft he bestrode h is r e y steed ;
-
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 *
ODE O N ST .C E C I LI A S D A Y
Se e La ni e r s S c i e n c e o f E ng l i sh V e rse
.
96 INT ERP RE TI VE R EAD ING
II .
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 .
IV .
V .
VI .
But Oh ! 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 .
V II .
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
J OH N D RY D EN .
7
98 INT ER P RE TI VE RE AD ING
C O ME IN T O T H E G AR D E N
1 .
2 .
3 .
4 .
I said to the lily , There is but one
W ith wh om sh e has heart to be gay .
5 .
6 .
7 .
8 .
9 .
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 .
S h e is coming , my love , my de ar ,
She is coming my l i fe , my fate ;
,
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 E NN Y S O N .
T H E C H AR M S OF R U RAL LIF E
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.
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 ,
F LO W G E NTLY S W EE T
, AFT O N
R O B E R T BU R N S .
LU C Y
LU C Y
G r ace that sh all m ould th e maiden 5 fo r m
By silent symp athy .
W I L L I AM W O RD S W O R TH
TO A S KY LA R K
I .
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 .
III .
IV .
V II .
W h a t t ho u art we know no t ;
,
V III .
XIII .
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 .
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 .
XI X .
C HA P T E R V
P e r s o na t i o n
SEL ECTI ON S
T H E R IVAL S
ACT S C EN E I .
Cap ta z
n Absolu te . N ow for a parental lectu r e .
weeks .
between y ou .
fore ?
Abs . N o t a word O f h er , sir .
Si r Ant/ O dd so
t . I mustn t forget he r , though
P ER S O NATI O N 1 11
S i r Au t h Why
. what d i fference d o e s that make ?
O dds life sir ! if yo u have the e state , y o u must take i t
,
tim e with p atience I have been cool quite cool ; but take
way
but don t put me i n a frenzy
.
Bu t hear me .
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
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 .
j ack anapes !
Abs . I ndeed , si r , I never was in a w orse humour for
mirth in my life .
Si r A u th
.
Tis false , si r , I know you are laughing in
your sleeve ; I know you ll grin when I am gone sirrah !
,
Si r Au th .
Tis a confounde d lie l I know you are in a
(E nt er F a g .
)
Fa g . A ssu r edly ,
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
a s i d e, a
! P u s hes h i m nd ex i t .
Fa g . Soh l Si r A nthony
trims my master ; he is afraid
to reply to his father then vents his spleen o n p oor Fag !
(E nt er E r r a nd B oy
) .
so !
The meanest disposition ! th e
B oy Q uick , quick M r Fag !
.
, .
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
,
er C a p ta i n Abs o lu te
(E nt .
)
Abs .
Tis just as Fag t o ld me , indeed W h i msical .
! p
St e s a si d e .
D i e , did I sa y ?
I ll live these fty years t o p l ague him .
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
. . .
Si r Au th W hat s that ?
.
Si r Anth W ell , si r ?
.
s atisfacti on .
P ER S O NAT I O N 1 15
sh ire ?
Si r Au th W orce stershire ! no
. D i d you never meet
.
S i r Au t h Squ i n t s !
. A re d h aired girl ! ! ounds ! n o !
-
person .
! Asi d e
Si r Au th Then Jack her neck ! 0 Jack ! Jack !
.
, ,
marry th e niece .
Si r Au th . U pon my word , Jack , th o u r t either a very
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
hyp ocrite .
o u , if you don t come back sta r k mad with rap t ure if
y
R I CH AR D B R I N S LE Y S H E R I D A N .
AS YOU LIK E IT
ACT I S C E NE
. 111.
C e li a W hy Cousin ! why ,
.
, C upid h ave R os alind !
mercy ! not a w ord ?
R osa li nd No t one to throw at a d o g
. .
my heart .
Ce l. He m them away .
R owl and s youngest so n?
R os The D uke my father loved his fathe r de arly
. .
(E nt e r D u ke F r e d er i c k, w i th L o r d s
) .
R os M e , uncle ?
.
D uke . Yo u , cousin :
W ithin the se ten days if t hat th ou be st fo un d
R os
. I do beseech your Grace ,
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 ,
R os
. Yet your mistru st c a nno t m ake me a traito r :
Tell me whereon th e lik elihood depends .
P ER S O NA T I O N 119
Ce l
. D e a r s o ve r eign hear me speak
, .
C el
. I did not then entreat to h ave her stay ;
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 ,
ness ,
He r very silence and h er p atience ,
Spe ak to the pe ople , an d they pity he r .
Ce l
. Pronounce that sentence then o n me , my liege :
I cannot live out of her company .
! E x e u nt D u lce Fr e d e r i c k a nd L o r ds .
120 I NT E RPR E T I V E R E A D I N G
C ol . 0
my poor R osalind , whithe r wilt thou go ?
W ilt t h ou change fathers ? I will give thee mine .
R os Wh y , whi t he r sh all we go ?
.
Ce l
. What shall I call thee when thou a r t a man ?
R os .I ll have n o w orse a name than Jove s own page ;
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 ?
Le ave me alone to w o o him Let s away , .
W I LL I A M SH A K E S P E AR E .
AS Y OU LI KE IT
AC T V S C EN E
. I .
T HE F O RE S T .
(E nt e r T o u c hs t o ne a nd Au d r ey
lays claim to yo u .
E er Wi l li a m
( nt .
)
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 , .
you , friend ?
Wi ll . Five an d twenty , Sir .
T ou c h A ripe age
. Is t hy n am e W illi am ?
.
Wi ll W illiam , s i r
. .
Wi ll Ay , S i r , I thank Go d
. .
Wi ll. Fai t h , si r , so so .
T ou c h .
So s o is good , very good , very excellent
good ; an d yet it is not ; it is but so so A r t thou wise ? .
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 ,
.
this maid ?
Wi ll. I do , si r .
Wi l l No , sir
. .
Wi l l W h i ch h e , si r ?
.
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
Au d
. D O , go o d W i l l iam .
Wi ll G o d r e st you merry , si r
. .
! Exi t
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
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 .
er Ha m le t, Hor a ti o, nd M a r c e llu s
(E nt a .
)
Ha m le t The air bite s sh r ewdly ; it is ve r y cold
. .
Ha m . W hat hour no w ?
Ho r . I think it lacks of twelve .
Ha m . N O , it is struck .
(A o u r i s h of tr u m p e ts a nd o r d na nc e s hot o
f
W h at doe s this me an , my lord ?
Ha m The king doth w ake t o night , an d takes his rouse ,
.
-
H or. I s it a custom ?
Ha m . Ay , marry is t ;
(Enter Ghost .
)
Ha m Angels and ministers Of g r ace defen d us
.
Be thou a spirit of h e alth o r goblin d a m n d ,
126 INT ER P RE TI VE RE A D I N G
os t bec ko ns Ha m l e t
! G h .
Ho r . No , by n o means .
Hor . D O no t , my lor d .
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
.
,
I sa y , away Go o n ; I ll follow th ee
.
! Ex eu nt Gh os t a nd Ha m let
Ho r . He w axe s desperate with imaginat i on .
Ma r .
Let s follow ; tis no t t thus to o bey him
.
Ma r .
Nay , let s follow h im .
! Ex eu nt
W I LL I A M SH A K E S P E AR E .
128 INT ER P RE TI VE RE A D ING
JU LI U S C AES AR
ACT IV . S C EN E III .
(Enter B r u tu s
) a nd C a ssi us .
Ca ssi u s. That you h ave wron g d m e doth appe ar in this :
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 r u tu s
. Yo u w r ong d yourself to write in such a case
.
B r u tu s
. Let me tell yo u C assius yo u yourself
, ,
C a ssi u s
. I an itc h i ng pal m ?
You know that you a re B rutus that speaks this ,
O r by the gods thi s speech were else your last
, , .
B r u tu s
. T h e n ame o f C assius honors this corruption ,
And ch astisement doth the r efore hide hi s he a d
C a ssi us. C h astisement ?
B r u tus
. R emember M arch the ides o f M a r c h r emembe r :
,
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 .
C a ss i u s I am
. .
B r u tu s . I sa y y o u are n ot .
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 ,
.
Br utus
9
130 INT ER P RE T I VE RE A D IN G
m ov d me .
him .
Ca ss i u s I durst not !
.
B r u tu s . NO .
B r u tu s. You did .
B r u tu s
. I do no t , till you practise them on me .
Ca ssi u s . Yo u love me no t .
B r u tu s
. A a tt e r e r s w ould n ot though they do appear
,
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 ,
-
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 .
A nd s t raight i s c o l d again .
C a ss i u s .Hath C as s i u s l i v d
B r ut us .A nd my heart t o o .
C a ss iu s O B ru t us !
.
W I LL I A M SH A K E S P E AR E .
M A C B ET H
AC T I S C EN E V
, .
L a dy M
They m e t me in th e day o f succe ss ; and I
.
time with
,
Hail king that sh alt be !
,
, This h ave I
it to thy he art and farewell , .
(E nt e r a M ess eng er .
)
W h at isyour tidings ?
M ess . The king comes here to nigh t -
.
L a dy M
Thou rt mad to say it
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
.
E e r M a c be t h
( nt .
)
G reat G lamis ! worthy C awdor !
G reater than both , by the all h a i l hereafter ! -
L a dy M . O h , never
Shall sun that morrow s ee !
Your face , my than e , is as a book where men
M a y read strange matters To beguile the t i 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
. I .
LADY MAC B E T H S R OO M IN
T HE C A ST L E AT
D UN SINANE .
walked ?
Ge nt Since hi s maj e sty went into the eld , I hav e seen
.
to conrm my speech .
E er L a d y M a c be t h, w i t h
( nt a 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
. .
L a dy M
Yet here s a sp ot .
oh , Oh !
P hys W hat a sigh is t h e r e !
. The he art is s o r ely
charged .
Gent . Pr ay Go d it be , si r .
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
! Ex i t .
W I LL I A M SH A K E S P E AR E .
ANTI G O NE
S C EN E I .
(Anti g o ne,
I s m e ne .
)
Anti gone O my dear sister , my best love d I smene !
.
-
F ro m
A nti g one
Ma yna rd E ng li sh C la ssi c S eri e s b y p er
Of s
m i ssi on O f p u b li she rs
.
138 INT E R PR E T I V E RE AD IN G
0, what a re they ?
Fo r something dre adful labors in thy b r east .
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 139
We are forbidden ?
Ant . Ay , to bury h im :
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
:
.
A las !
R emembe r o u r unh appy father s fate ;
I sm . Alas !
I tremble f o r th ee .
Ant I kn ow my duty , and I ll pay it t h e re
.
I sm . C ouldst thou do it ;
But tis n ot i n th y p ower
.
Ant . Go o n, and
shall hate thee : our dead broth er ,
I
He t o o sh all hat e th ee as his bitterest f o e .
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
Pi t ies thy we akness , but admi re s thy vir t ue ! E x e u nt . .
S O PH O C LE S .
NYD IA AN D IONE *
(A r oom i n t h e h ou s e o
f I o ne . I one s ea te d . E nter N yd i a .
f
N yd i a d e li v e r s Gl a u c us s m essa g e o l or e .
)
N yd i a I may give these owers to none but thee
. .
lues 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
.
Ad a p t e d
3*
fro m
The La st D a ys o f Pom p e ii .
14 2 INT ER P RET I VE RE A D I N G
(R e nt er I o ne )
-
e .
I o ne . I h ave .
last , let m e take thy answer back I will return this even .
ing.
thou be o ne to me ?
N yd i a O ne favor , fair Ione
. T h e y tell m e thou a r t
.
I I V ig o r or strength
. .
III Seriousness . .
V Persuasion
. .
Ch a p t e r I
Di r e c t ne s s
tendency t o pi v o t th e he ad an d body .
directly .
14 4 IN T ER P RETI VE RE A D ING
T O U S S AI NT L O U V E RT U RE
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
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 .
him W ash in gton , but the gre at V irginian held Slave s This .
your eyes , but with your prej udice s But fty y ear s hence ,
.
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 *
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
.
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
rant.
M emorize great oration s th at illustrate vigor o f
thought .
S EL E C T I ON S
W h y re a d y e no t th e c h a n g e l e ss tru th ,
fre e
T he c a n c o nq u e r b u t t o sa v e ?
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 *
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
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
C H AR L E S PH I LL I P S (adapte d) .
D I V I SI ON I II
Cha p ter I II
S e r i o u s ne s s
S EL E C T I O N S
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
-
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
S E L E C T I ON S
MARC A NT O N Y
S O RATI O N
And
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 i o n
S PEE C H O N T HE A M ERI C A N W AR
never !
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
.
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 .
and le arnin g may toil for it , but they will toil in vain .
a c ti o n, no bl e , su bli m e , o d l i ke a c ti n
g o
D A N I EL W EB S TER .
are not me ans o f annoy a nce to you , but your country s own
has granted you t his sight Of your country s hap p ine s s ere ,
Ri se n oh m id no o n
a nd glorious life ,
W h e re m ul t ti ud es O f v irtu e s p a sse d a lo 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
,
T H E B E TTE R PA R T *
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 ,
FI G 1 . Tra c h e a a nd Lungs
.
Th e L a ry nx, , .
1 Ep i g l tt is
. o . 7 T h y oid g l nd . r a .
2 H y id b ne
. o o . 8 T a c hea . r .
3 S up i
. e r or h n f th yroi d c a til ge
or o 9 B nc h i l t ub es
r a . . ro a .
4 T h e l y nx
. ar . 10 L e ft b o nc h u . r s
.
5 T h y r id c a r ti l g e
. o a . 11 T w l b e o f l e ft l ung . o o s .
6 C r i c o i d c ti l g e
. ar a . 12 Ri g h t l b e f l ung . o o .
BR EA T HIN G
D IV I S I ON I
T HE RE S PIR AT O R Y O R G AN S
T HE organs Of respiration a re the trachea bronchial ,
R E S P I RA T I O N
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 .
FI G 2 Up pe r V i ew of D i a p h g m
. .
ra also converge , a nd ultimately
.
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
,
. .
-
a .
E XP I RA T I O N .
FIG 4
. .
Insp i ra ti on . E p i ra t i o n
x .
1 T ra c h e a
. . 3 D i p h ra gm
. a .
2 S te rnum
. . 4 Ab d m e n
. o .
DI V I S I ON II
B RE AT HING E XER C IS E S
1 U pper che st breathin g
. .
R e p e at
.
3 L ow er che st b r e athin g
. .
h al e quickly R epe at
. .
4 A pex b r eat hi n g
. .
DI V I S I ON I
T HE V O C AL O R G AN S
The org ans of the voice are the larynx a nd th e cav ities
of res onance .
C AR T I L A G E S O F TH E L AR Y N X
Ep i gl tt i s
o
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 a .
C r i c id ca r t i l ge
o a
cart i lage art i culate s W i th
.
g H yoid b n o e .
t he cricoid cartilage b y m S up e i r h n f t h yr i d c rt i la ge
r o or o o a .
C ri c o th yr l d m u c l e
-
o s
mean s of a j o m t w h i ch a l
.
n Tm he
S a .
lows freedom o f m o t i on .
FI G 6 T h e
. . Voc al C or d s .
1 Vo c a
. lc d or .
T H E M U S C LE S A N D TH E L I G A
:5 . Ar yt e no id c a r ti l a ge .
3 . Th e a ry te no id m usc l e
-
. M E N T S O F TH E L ARY N X .
4 . C o nne c ti ve t i ssu e .
i i b one
3gfitis li g am e nts in the membran ou s
'
8 (E p h g us
. so a lips wi t h in th e la ryn x N e a r
. .
9 Tn
.
v h y oi d l i g m e nt
ro -
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
T HE V O C A L O R GANS 18 7
back or Signet o f the cricoid cartilage to the outer angle
Of th e aryten oid cartilage .
T HE C A V I T I E S OF R ES ONANCE
t he p h a ry nx t he m o u th
,
t he t wo n a rc s
,
and t he ei ght ,
si nu se s .
188 I NT E RPR E TI V E RE A D IN G
FI G 7 C a vi ti es of Re sona nce
. .
11111 8 018 8 Should be r e
.
1 F nt l i nu
. ro a s 6 So ft p l a te
s .
lax e d
.
T h e pharynx
a .
.
2 Sp h n i d l sm us 7 Uvul
. e o a .
serve s principally to
. a .
3 U pp e
. m i dd l e
r, nd 8 M o u th . a . .
l w m tus o f ne
o er ea 9 Ph ry n o d l l e Ct 01 p I OJ tone
. a x .
'
.
f th e n 10 Ep i gl tti s
o a re s . .
The m ou th i s the
o .
T u b i n te d b one !
r a 11 Hy o i d b o ne . .
5 H d p l te
. ar a a 12 T a c h e
.
resonant cav i ty that
. r a .
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 .
T HE V O C AL O R GAN S 18 9
D I V I S I ON II
T HE PROD U C T I O N O F T O NE
D I V I S I ON III
a D irections ,
.
c Th e ex e rcise s ,
.
( )
1 H u m m ng s oftly and musically Vary the .
pitch .
2
( ) S peak 16 l a l a 1e .
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 , -
M r s Ag nes E M i tc hell
. . .
2
. Pe rvasiv e ne s s of to ne . R e s o na nc e in th e nar e s and
sinuses .
a. D ire ct i ons ,
Thi nk mas b e for e , an d imagi ne it spreadin g
ng
through th e face comi ng o ut through ev e ry part
,
0 . The exercise s ,
()1 Tak e a long breath .Hum m ng , an d sus
2
() R ecite th e following :
W ith klingle , kl a ngl e , klingle ,
W a y down the dusty dingle ,
The cows are comin g home .
a D irections ,
.
b Th e obj ect ,
.
0 The e x ercises ,
.
( )2 S in g l o 16 l o 16 in a full ,
rm ,
an d sweet t o n e .
A r o un d thee an d above deep is the ai r a nd d a r k .
V O C A L C U LT U R E 193
a . D irecti ons ,
Sing a music a l tone so continu ous ,
m e nt a lly
ne , steady and sweet a s to seem sp un ou t Take
, .
'
c.The exercises ,
(1 ) The breathing e xercises .
()
2 Take a long bre ath , an d sing the syllable to
a D irections ,
.
b Th e obj ect ,
.
c The e xercises ,
.
t e, or 16, l a, l a , 1e .
13
194 INT ER P R ET I V E R EA D I N G
6 . Volume of tone .
a D irections ,
.
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
and up on the mind Th e mind must rst con
.
b The obj e ct ,
.
0 Th e 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 .
7 . Force o f tone .
a D irections,
.
audience .
b Th e obj ect ,
.
0.Th e exercis e s ,
1
( ) Practice th e bre athing exercis e s .
2
( ) S i ng in a full to ne IO 16 IO 16 .
8 . Tone color .
a D irection s,
.
0 Th e ex e rcises ,
.
P . B . She lley .
J R L owell
. . .
D I V I S I ON IV
*B
y p erm i ss i on of t he p ub l i shers , M e ssrs . Houghton M i i i n ,
Co .
PART I V
GEST U R E
D I V I S I ON I
RELAXI NG EX ERCISES
( )
1 R elaxation o f the arms , fr o nt .
a
( ) D escription ,
()
6 The counts ,
a
( ) D e scription ,
a r ms
. R epeat
.
R ELAXI NG EX ER C I SES 199
()
b The counts ,
Arms horizontal at side s ,
R e la x arms R epeat
. .
3
( ) R ela x ation of the arms by pivotin g at t h e ankles .
(a ) D e scription ,
()
b The counts ,
Pivot right ,
Pivot left ,
Pivot right,
Pivot left ,
Pivot front .
( )
4 V ibration 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
( p a l ms upward .
) By e nergy from the upp e r arm ,
make the h an ds vibrat e The hand should be
.
()
6 The count s,
Forearms horizontal , 2, 3, 4 ,
Vibrate hands , 2, 3, 4 , 1, 2, 3, 4 .
( )
5 R elaxation o f the wrists .
a
( ) D escription ,
()
6 The counts ,
F o re arms h o ri z ontal , 2, 3, 4 ,
200 INTER P R ETIV E R EA D ING
Up and down , 2, 3, 4 , 1, 2, 3, 4 .
( )
6 R o tary m ovement o f the hands .
(a
) D escription ,
( )
7 Re laxation of the ngers .
(a ) D e scription
,
(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
. .
R elaxation o f th e l e gs
( )
1 .
(a
) D escripti o n ,
( 6) The counts ,
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 .
( a ) D e scrip tion ,
a
( ) D escription ,
()
6 The counts ,
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 ,
2. Exercises for the trunk .
1
( ) R e lax ation of the upper h alf of t h e tr u nk .
( a
) D escription ,
tion .
( ) e scription ,
a D
Th e weight i s already on the balls of t he feet .
()b Th e counts ,
( )
a D e scription ,
( 6 ) The cou n ts ,
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
. .
( )
a D escri p tio n,
(b) Th e c ounts ,
H e ad front , 2, 3, 4 , Q
1
R ight , 2 3, 4 ,
, )
B ack , 2, 3, 4 , ,
L e ft , 2, 3, 4 , .
1
Front , 2, 3, 4 ,
204 INTER P R ET IVE R EA D ING
D I V I S I ON II
(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 .
2 . T h e stand i n g p o sitions .
()
a D escriptio n,
T HE N OR M A L P O S I T I O N
Place the feet side by sid e , with the heels slightly
apart , and th e toes pointing outward , making angle of
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 .
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 o .
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 .
G E N E R A L D IR EC T I O N S F OR ST AN D I N G
FI G 10
. . Re
ti ed Po i ti o n
r s .
er e ct over th e st r on g foot , th e che st high ,
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 ,
.
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 ,
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
, , ,
R ais e ch e st 2, 3, 4 ,
,
Re lax ch e st 2 3 4
, , , .
(a ) D escription ,
()
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 , , ,
Forward 2, 3 4 1 2 3, 4
, , , , , ,
B ackward , 2 3 4 1 2, 3 4 ,
, , , , ,
()
a D e scription ,
()
6 The counts ,
K neel , 2, 3, 4
Hold , 2, 3, 4 ,
R ise , 2, 3, 4 1 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
,
.
()
a D e scription
The weight is already on the r i g ht f oo t As .
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
.
()
b The counts ,
R ight , 2 3 4 , , ,
L eft , 2, 3, 4 ,
R ight , 2 3 4 , etc
, , .
()
a D e scription ,
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
c h est letting th e right cheek l e ad
,
This is the attit u de .
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 .
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
210 INT ER P R ETI V E R EA D IN G
dain Poise the head toward the right chest until the
.
()
6 Th e counts ,
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 III
PRI N CIPLES O F 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 ,
.
!
s By the angl e of th e a r m ,
e By the altitud e o f th e arm ,
g By the r at e o f m ov e ment ,
a By the d e gr ee o f force of th e movement ,
s
r By th e posit i on o f th e h and ,
o
C By the response o f the body .
1 . 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
.
'
3 T HE
. A N G LE O F TH E AR M
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
.
'
135
135
FI G 11 . .
l
A ng e of G e stur e .
4 . 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
,
5 . T HE R A T E O F M O VEME N T
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
, .
6 . T H E D E G R EE O F F O R C E O F TH E M O V EME NT
Any g e st u re m a y be made emph atic by givi ng the i c t us ,
7 T HE P O S I T I O N O F TH E H AND
.
FI G . 12
. Hand S up i ne . FI G . 13 .
Hand Pr o ne .
()
6 Han d prone (palm downward ) Fi g 13 . . .
()
c Ha n d v e rtical (palm outward ,
ngers upward ) Fi g 14 . . .
(d ) Hand clinch e d
(ngers p r e ss e d into th e
palm thumb p r e s s e d
,
FI G . H and
14 .
forc e .
C l i nc h e d .
P t on osI I .
ni t i o n, o r p o m t m g o ut .
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 .
( )
g H and av e rt e d (han d s lanting ,
()
h 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
. . .
i
() Ha nd d i stend e d (ngers s e p a
rate , dist e nded , thumb strongly Op
p os e d to rst n F I G 19 H a nd P artly
_ . .
C l ose d .
ger) Fi g 20 . . .
(j ) H an d g e ntly cl o s ed (n ger s
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
s
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
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 os
fo urth nger
. . .
t e r l a c i ng ) Fig 22
. . .
8 . T HE R E S P O N S E O F TH E B OD Y
D I V I S IO N IV
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 .
c heer i ng .
( )
a D e scription ,
of 45
an d lower to th e S i d e .
R e peat the ch ee r mov e ment .
(6) T h e counts ,
R i g ht foot , 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
. of dir e ct e ntr e aty as s e rtio n or afrmation , .
( )
a D ir e ctio ns ,
(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 .
prohibition , o r destruction .
( )
a D ir e ctions ,
6
() Th e co u nts ,
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
, , , ,
Glide l e ft foot 2 , ,
Tra ns i t i o n 4 , ,
G ES TU R E EX ER C I SES 221
Left arm up , 2, 3, 4 ,
O ut , 2 3 4 ,, ,
D own 2, 3 4 ,
, ,
U P) 22 3: 4 ) 1: 2:
D ow n, 4 .
(a ) D irections ,
T ake the weight on the balls of the feet With .
, 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 .
B oth feet , 2, 3, 4 ,
B oth arms up , 2, 3, 4,
O ut , 2, 3, 4 ,
D own , 2, 3, 4 ,
U P, 2, 3, 4 , 1, 2,
D own (to sid e s ), 4,
U p ) 2: 3: 4 2 1: 2: 3: 4)
Hold , 2, 3 4 , ,
D own 2, 3, 4 , 1, 2 3, 4
, , .
( )
a D irections
Take th e w e ight on the ball of the rig h t foo t .
(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 .
(a ) D ir e ctions ,
Take th e w e i g ht on the ball o f the ri ght foot .
gesture o f listening .
()
b The counts ,
R ight foot , 2, 3, 4 ,
R ight arm up , 2, 3, 4 1, 2, 3 4,
, ,
( )
a D ir e ctions
T ake the weight on the balls of both f e et W ith.
( )
a D ir e ctions ,
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, 4,
Hold , 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 .
Hold , 2 3, 4 , 1, 2, 3, 4 ,
,
D own , 2, 3, 4 1, 2, 3, 4
, .
( )
a D irection s ,
h e counts ,
()
6 T
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 .
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
the sid e .
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: V
D o wn , 2, 3, 4 , 1, 2, 3 4
Glide left foot , 2,
Transition , 4 ,
Left arm up , 2, 3, 4 , 1, 2, 3, 4 ,
D own , 2, 3, 4 , 1, 2, 3, 4 ,
U p : 2) 32 4 2 1: 2: 3: 4 :
D own , 2, 3, 4 , 1, 2, 3, 4 .
( ) D irections ,
a
th e h ands prone an d relaxed , rais e b o th arms at 4 5
15
226 INT ER P R ETI V E R EAD IN G
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 .
12 D ouble
. 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 ,
a ge stu re o f m agnitude W ith h ands supine , r e
.
90 t o t h e sid e s
0
a g e sture o f magnitude coupl e d
3, 4 , 1 2, 3 4 ,
At the se cond count 3 fold th e
,
.
()
6 T h e counts ,
B oth feet , 2 3, 4 , ,
B oth arms up 2, 3, 4 , 1, 2, 3, 4 ,
D own magnitud e ) 2, 3, 4 , 1, 2, 3, 4 ,
,
Up vast uplifting ) 2, 3, 4 1, 2, 3, 4 ,, ,
2, 3, 4 ,
Up vast rising ) , 2, 3, 4 , 1, 2, 3, 4 ,
D own double repulsion ) , 2, 3, 4 , 1, 2, 3, 4 ,
Up 2. 3. 4 . 1. 2. 3. 4 .
D own , right successive repulsion ) , 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 ,
Up 2, 3, 4 , 1 2, 3, 4, ,
D own d e j e ction ) 2, 3 4 , 1, 2, 3 4
, , , .
( )
a D ir e ction s ,
o f m ys ter y o r l i m i t a ti o n
.
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 .
ti o n
.
GESTU R E EXER C I SES 229
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 ,
,
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 ,
,
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 .
230 I NT ER P R ETI V E R E A D ING
(a
) D ir e ctio ns ,
to front position .
()
6 The counts ,
B oth feet , 2, 3, 4 ,
B oth arms up (hands supin e 0 Pr e sentation ) , 2,
.
3, 4 ,
Arms (hands supin e 90
out . Universality ) , 2, 3,
4 , 1, 2, 3, 4 ,
R e tu r n
hands 0
tion ) , 2 3, 4 , 1, 2, 3, 4 ,
,
Ex tent ) , 2, 3, 4 , 1, 2, 3, 4 ,
GESTU R E EX ER C I SES 231
2, 3, 4 , 1, 2, 3, 4 ,
D own (hands prone ,
2 3, 4 , .
a command to come .
( a
) D irections ,
(6 ) The counts ,
R ight foot 2 3 4
, , , ,
Transition 4 , ,
( )
a D ire ctions ,
Tak e th e weight o n the ball o f t h e r igh t foo t .
vi t a t i o n to come .
(6) Th e counts ,
R ight foot 2, 3 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
P hys i o l ogy . T h e respiratory and vocal o r gan s
.
L ec tu r e
The interpretation of literature .
R e a d i ng
L iterary analysis .
SE C O N D W EEK
B r ea thi ng
Ex ercise s f o r u pper an d middle c h est
breathin g .
R e a d i ng
Literary an alysis .
Gestur e .
R elax ing e x ercises .
T H IRD W EEK
B r e a thi ng .
Exercise s fo r l ower c h est an d ape x e s o f
the lungs .
R ea d i ng
Sequ e nce o f thoug h t .
Gestur e
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
.
.
p o siti o n s .
234 O UT L IN E O F C O U R SES OF S TU D Y
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 .
SI XT H W EEK
B r ea thi ng F ou r e x ercises
.
.
Vo c a l Cu ltur e Smoothne ss
.
R e a d i ng C learness
D rill i n m o lding elementary
.
sounds .
Study o f Hamlet to the Players .
si t i o n an d kneel i n g .
SE V E N T H W EEK
B r e a thi ng Four e x ercise s
.
D enition of emphasis .
Emphasis of melody .
Emphasis o f slide .
Ges tu r e
Pr e paratory e x e r cise fo r walking .
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 ea d i ng Form s of emphasis
.
Emphasis of volume .
Emphasis of forc e .
Emp h asis o f p au se .
Gestur e R eview
.
O UT L IN E O F C O U R SES O F STU D Y 235
'
N I N T H W EE K
R eviews and writt e n te sts three day s .
T E N T H W EEK
Tennys on recitals .
ELE V E N TH
B r ea thi ng Fqu r exercises
.
.
'
Vo c a l Cu ltur e Flexibility .
.
R ea d i ng .
W ord p ictures .
Gestur e
Principle s .
T W ELF TH W EE K
B r e a thi ng Four e x ercise s
.
R e a d i ng Atmosphere
.
.
T H IR T EE NTH W EEK
B r e a thi ng Fou r e x e rcise s
.
.
R ea d i ng Tone color
.
F O U R T EE NT H W EEK
B r e a thi ng Four exercise s
.
-
.
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 .
236 O U T LI N E O F C O U RSES OF ST U D Y
SI XT E EN TH W EEK
B r ea thi ng Four e x e r cises
.
-
.
R ea d i ng R hythm
Movement . .
SE V E N T EE N TH W EEK
B r ea thi ng Four e x ercise s
.
.
R ea d i ng Personation
.
EI G HT EE NTH W EEK
B r e a thi ng Four e x ercise s
.
.
R e a d i ng Pers o nation
.
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
TW EN T I E T H
R eviews a nd e x amin ati o ns .
F I R S T W EE K
P hysi o logy The r espiratory a nd v o cal o rg ans
.
.
R ea d i ng . The R ivals , Act II , Scene I . . Sele c
tion o f play t o b e interp r ete d by the c l a s s at th e
c l o se o f the term .
SEC ON D W EEK
B r e a thi ng Four e x ercise s
.
.
R ea di ng T h e R ivals , Act II I Scene I
. . .
O UT LIN E O F C O U R SES OF ST U D Y 237
Gestu r e
Principl e s .
Ex t e m p or a neou s Sp e a ki ng
T h e pl o t of As Y ou
L ike It .
T H I R D W EEK
B r e a thi ng e xercise s
Four .
R ea d i ng . A s Yo u Lik e It , Act I , Scene III
. .
L e c tu r e
The hist o ry of the drama .
F O U R TH W EE K
B r ea t hi ng F 0ur e x ercise s
.
.
R ea d i ng .
A s Yo u Lik e It Act V , Scene I , . .
Gestu re
R esponsive exercises 6 to 11 .
L e c tur e
The structure of the dram a .
R e h ea r sa l of term play .
F I F T H W EEK
B r ea thi ng Four exercise s
.
R ea d i ng . Hamlet s rst soliloquy
.
Gestu r e
R esponsive exercises 12 to 16 .
Ex tem p o r a ne ou s Sp e a ki ng The pl o t
of H a mlet .
SI XTH W EE K
B r ea thi ng F o ur exercises
.
.
Vo c a l C u ltu r e Fl e xibility
.
Gestur e
R e v i e w o f responsive e xercises .
L ec tur e
The str u c t u re o f the scenes of the dr am a .
238 O UTLIN E O F 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
.
Vo ca l C u l tu r e Flexibility
.
R e a d i ng Hamlet , Act Scene I V .
Gestu r e
Pantomime P e rson ation fr o m life An
. .
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 .
EI G H TH W EE K
R ehears als 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 . .
Gestu re
Pantom i m e Personation fro m l i fe
. .
o r a ne ou s S e a ki n
p g Informal discussion of the
t er m play .
T E N T H W EE K
R evi e ws and examination s .
ELEVE NTH W EE K
B r e a th i ng
Four
exercise s .
Vo c a l Cu l tu r e Volume
.
R ea d i ng . Julius C ae s ar Act IV , Scene I I I
, . .
Ges tu r e
Pantomim e Person ation from life
. .
Ex tem p or a ne ou s Sp ea ki ng The plot of Juli u s
C aesar .
T W ELF TH W EE K
B r e a thi ng exercises
Fo ur .
R ea d i ng . Macbeth , Act Scene V .
Gestu r e
Pantomime P e rsonation of Shakespeare s
.
Ex te m p o r a ne ous Sp e a ki ng Th e plot of Macbeth
.
T H I R T EE N TH W EE K
B r e a t h i ng Four e xercise s
.
.
Vo c a l Cu l tu r e Force
.
R e a d i ng . Macbeth , Act V , Scene I . .
Gestu r e
Pantomim e P e rsonation of Shakespe are s
.
ch aracte rs .
F O U R T EE NTH W EE K
B r e a th i ng Four exercise s
.
Vo c a l Cu l tu r e Ton e color
.
R e a d i ng . Macb e th, Act V Scene I . .
Ge s t u r e. Pantomime Person ation o f Shakespeare s
.
characters .
beth .
F I F T EE NTH W EE K
B r ea t h i ng .e x ercises
Four .
R e a d i ng Antigo ne
.
.
charact e rs .
L e c tu r e . Antigone
.
SI XT EE NTH W EE K
Vo c a l C u l tu r e
R eview .
Prese ntatio n of Julius Caesar , Act I V .
, Scene I II .
,
by g r oups o f students .
Stage business .
24 0 O U T L IN E O F C O U R SES OF S TUD Y
SEVE NT EE NT H W EE K
Pr e sentation o f Macbeth , Act Scene V .
, by
group s o f students .
Stag e busines s .
EI G H T EE N T H W EE K
Pre s e ntation of Macbeth , Act V Scen e by
groups o f students .
Stage busines s .
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 .
o f Sc e nes of th e D rama .
T W E N T I E TH W EE K
Presentati o n o f th e term play .
B oo ks .
t i st s .
L iterature .
t i st , and Man .
OR AT OR Y .
F I R S T W EEK
P hys i o l ogy
The respiratory an d vocal organs .
R e a d i ng
D ir e ctnes s Toussaint L Ou ve r t ur e
.
.
SEC O N DW EE K
B r e a th i ng exercises
.
Four .
L e c tu r e . Structure of th e oration
.
R e a d i ng Vigor or strength
.
.
Ge s t ur e . Pr i ncipl e s
-
.
T H I RD VVEE H
B r e a t hi ng F 0ur ex e rcises
.
.
R ea d i ng Ser i ousn e s s
.
.
F OURT H VVE EH
B r e a t hi ng Four exercise s
.
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
B r e a t hi ng Four exerci se s
.
Vo c a l C u l t u r e Smoothn e ss o f tone
.
.
R e a d i ng Pe rsuas i on
.
SE V E N TH VVEE K
B r ea t hi ng Four exercises
.
.
Vo c a l C u ltu r e Smoothness
of t o ne .
R e a d i ng Persuasion
.
~
.
Ex tem p or a neou s Sp ea ki ng
R ead o ne oration and give
EI G HTH W EE K
B r e a thi ng Four exercis e s
.
.
Vo c a l Cu ltu r e Fl e xibility
.
R e a d i ng Volum 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
N I NTH W EE K
B r ea thi ng F 0ur ex e rcises
.
.
Vo c a l C u ltu r e Volume
.
R e a d i ng V olume
.
.
T E N TH W EEK
D ebate .
O UTLINE O F C O U R SES OF STUD Y 24 3
ELEVE NTH W EE K
B r e a thi ng Four exercises
.
.
R ea d i ng D i r e ction o f voice
.
Ges t ur e .
O rig i nal work g e stures of e mph asis
.
T W ELF TH V
VEEK
B r e a t h i ng Four exercis e s
.
Vo c a l Cu l tu r a Ton e color
.
R e a d i ng Vigor o r strength
.
.
T H IR T EE NTH W EE K
B r e a thi ng Four e xercises
.
.
Vo c a l C u l tu r e Ton e colo r
.
R ea d i ng . Se riousnes s
.
Gestu r e
O rigin al work Paragraph and clima x in
.
ge sture .
F O U R T EE NTH W EEK
B r e a t hi ng Four exercises
.
.
Ges tu r e
O riginal work Appeal , invectiv e , chal .
F I F T EE N TH W EE K
R e cital o f e xtracts f r om great orations . C riticism .
SI XT EE NTH W EE K
B r e a t h i ng e xercises
Fo u r .
R e a d i ng P e rsuasion
.
SEVE NT EE NTH W EE K
B r ea t hi ng Four exercise s
.
.
voic e work .
R ea d i ng Volume
.
EI G HT EE NTH W EE K
Ex t e m p o r a ne o u s Sp ea ki ng
The essentials of ora .
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 .
G e nung J F : R hetoric
, . . .