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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 .

T HE 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 .


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 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

D IVI SIO N III


INTE RPRE T IVE READ ING O H SP E A KING THAT APPEAL S T o T HE

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
'

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


.
, , 218
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 . 219


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
, 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 ,

w ard de si g nat i on 224


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
i ng 225
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


, ,

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

c ove ri ng , c alm o r d iff usi on 230


15.Si ng le g e stures o f c ommand t o g o or c ome 231
16 Si ng l e g e sture s o f i nv i tat ion t o go a nd c ome
. 231
IN D EX O F SELEC TIONS

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

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

. Shake sp eare 20

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
.

Ha mle t s Fi rst Sol ilo q uy



Shakesp eare 123
IND EX O F SELEC T IO NS XV

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

AL LI ANCE W I TH THE AUD IE NCE


Mar c A nt o ny s O rat i o n Shake sp eare 164

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
.

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
e m o ti o ns and those that appe al through the un derst a nding
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 .

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

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


.
2 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


.

o u read with a ni m a ti o n
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 .


C hristmas a humbug , uncle ! s aid Scrooge s nephew ,

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 3

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
'
.


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
.

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 .
4 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 ?

Good aft e rnoon ! said Scroog e .


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 !

G ood afternoon ! said Scroog e .

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 5

SU G G E S T I V E Q U E S T I ON S

1. 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 ?


.


10 N otice the n e phew s tri b ut e to C hristmas
. W h at
.

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 ?


.

THE C HEERFUL LO C KSMI T H


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


.
6 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
o ff his Shining forehead the e asiest , freest , happiest man

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 7

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 I

C H A PT E R II

Se q u e nc e Of 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
W e stminster Hall He cultivated all thes e e min e nt a d
.

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 9

G arrick . 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



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

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

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 ,

at le ast o nce ev e ry night . D urin g ve whole s e ssions ,
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
v i o u s discussion . He could , in deed , treasure up in hi s
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

'

r e a t e st Or a t i o ns , own s that som e o f the m e taphors w e r e


g
Som e o f Pitt s quotatio ns and classical stories

t o o forced .

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
.
,

a 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


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

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
o n h orseback , he e scape d with lif e F e w w e r e so fortu nate
. .

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


,

se a . Alo ng th e spaciou s Hors e market the fugitiv e s e d


-

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

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

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

P l a ce . Aroun d this irr e gular , not very Spacious squar e ,


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 .


14 INT ER P R ETIV E R EA D ING

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 . W ith him effe ctual r e s i stance end e d The.

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 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

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 I
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


16 IN T ER P RET IVE R EA D IN G

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

di vidual ch a r a cter It is th e r e for e important that th e lip s


.

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
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 .

Vo wel mar ks . C o ns o n ant m a rks .

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

Vow e l Sou nds

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

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 f
o C ogna tes

Sub v o c a l s Aspirates Sub vo cals Asp i r ate s


b p l
d t z
V f th
'

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 .

2 . W ill to work and will to win .

3 . O ver the ocean Old .

4 . 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
.

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 :

Brin g, brag , brogue, boy , R est roast rill rinse ,


, , ,

C all , clin g C hrist e n , cast ,


, Stir run fur bur n
, , , ,

Fling , frost , f e lt frozen ,


, Stov e , Si ll , soft last , ,

G overn , gi v e , ga g gi ng ,
.
T ool tur n test , w e pt
, , ,

Hall , ha , happy , haste , This , that thos e th e n ,


, ,

Jok e , j ail , j oist , ju st , Thin th i nk myth ,


, ,

K i ng , kais e r , k ale , cake , Vain vault , varnish vogue


, , ,

L o ng , l o o k , lake , mull ,

W aist , was , worth word , ,

Mornin g , mamma , mist , l a me W h en w hite what , whine


, , ,

North , su nny , n oon night ,,


Xe n ophon Xerx e s , ,

Sin g bring , strin g , in g ,


,
Exist e xert e x alt ,
, ,

Pray , pull , p apa , paper , Youth , youn g , yarrow , Yule ,


Q uiet , q uest , quill , quinc e , ! one , zebra , zeal , z o unds .

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

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 .

3. I must go s e ek som e dewdro p s h e r e ,



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


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 .

6 . O h that this too , too solid esh would melt !


7 . 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
.


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 .

11 . 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 .

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


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

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

HAMLET S AD VIC E T O T HE PLAY ERS


Spe ak 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 -


C LE A R N ESS O F EN UNC I A TI O N 21

a nd 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


o

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
o e r w e i gh a whole th e ater o f oth e rs Oh , th e r e be play

.

e r s that I have seen play , and h e a rd oth e rs prais e , and


J

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
.
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

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 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 .

He rode all un and he rode al l . 31


0
be
22
F O R M S O F EM P H A SI S 23

So

in i n war ,

There

/
was like the young Lochin I,
e
t

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


them aloud .

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 voi e
q
from the main pitch up or down , thu s : Shall 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


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

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


.

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 ?

dO
R isin g circume x : O h , y o u A hear !

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


them alou d :
So 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 ,


(For the p oor crav e n brid e groom s aid never a word ,


)
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 ?

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


T he
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

on the emphatic words ; t h us or

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

p h asis is marke d by contrasting slides .


F O R M S O F EMPH A SI S 25

Notice the slides i n the 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 .

SO 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 .

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
. . .
26 INT ER P R ETIV E R EA D ING

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

Stops with the Shore upon the watery plain


-

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


o r syllables . The emphasis of volum e h as breadth and
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


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

I 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 27

Straining
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 .

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

Seate done day at the O rgan ,


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

IN T ERPRETIVE READ ING 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


. .

IV R hyt hm
. Movement
. .

V Personation
. .

C HA PT E R I

W 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
30 INT ER P RETI VE R EA D ING

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 T h e Marb l e Fau n ,



b y Na thaniel Haw thorne By .
p er
mission o f t he p u b l i she rs M e ssrs Hou gh t o n M i thi n
, . Co
, .
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
a nd art . Praxit e l e s has subtly diffus e d throu ghout his work
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 33

MOONLI G HT O N T HE AL HAMB RA "


T HE M Y S T E RI O U S C H A MBERS

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

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 .


*
C o p i ed
from Pu tnam s late st e d it ion o f
The Alhamb ra it

, as

was re vi se d b y Mr Irving in 1851


. .

3
34 INT ER P R ETI VE R EA D IN G

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
a nd h all. Th e garden bene ath my window , before wrapped
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

shadow ed o u t i n the e l e gant memorials aro und . Som e


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
36 INT ER P RET IV E R EA D IN G

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 .


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

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
.

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


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
o f t h e day
) into his mouth , rej oiced to n d himself so gal

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 .
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
.

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


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 ,

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

. .


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 .

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
g u ard u p o n thei r p o sts , c r amme d spoons i nto t h eir m ou th s ,
40 INTER P R ETI V E R EA D I NG

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

whic h the t wo y o ung C r a t c hi t s became livi d ! All s orts of


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 41

h alf qu a rte rn o f
ignite d brandy , an d be dight with C h r i st
-
a o

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 -


.

Go d ble ss us every o ne ! said Tiny Tim , the last of all .

C H A R LE S D I C K E N S (adapted ) .

T HE W IT C H S
C AVERN *

A 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 .

B utit 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

.
42 INT ER P R ETI V E R EAD IN G

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 !
Gla u c u s It is a dead th i ng
. .

I o ne .Nay i t stirs i t is a gh ost !


Sla ve O h a way away !


.
, It is the witch o f Ves u vi u s !

Wi tc h W h o ar e ye ? And what do ye h ere ?


.

Gla u cu s W e ar e storm beaten wanderers from the


.
-

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 ?


I one .We disturb you , I f e ar .

Wi tc h T e ll m e , are ye brother and sister ?


.

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 !
.

Gl a u cu s W hy dost thou laugh , Old cr o ne ?


.

Wi tc h D i d I laugh ?
.

Gl a uc u s Sh e is in her dotage
. .

Wi tc h Thou liest
. .

I o ne .Hush ! Provoke her not , d e ar Gla u cus .

Wi tc h I will tell thee why I laughed when I discovere d


.

ye w e re lovers It was becaus e it is a pleasure to the old


.

and withere d to look upon young h e arts lik e yours and

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

I one The gods forbid Yet , p oor w oman , tho u kn o west


. .

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

IVi tc h . 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 .

Gl a u cu s Hast th ou dw e lt h e r e long ?
.

Wi tch . Ah , long ye s
.

Gl a u c us It is but a drear abod e


. .

Wi tch . Ha ! thou mayst w e ll say th at H e ll is b e neath

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 .

Gl a u cu s Thou utt e r e st but e vil words In the futur e ,


. .

I will brav e th e t e mpest rath e r th a n thy welcome .

Wi tc h Th ou wilt do w e ll
'

. None should e ver s ee k m e ,


.

save the wretch e d !


Gla u c us And why the wr e tch e d ?
.

Wi tc h . I am th e w i tch o f th e mountai n ; my trade is to


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 .

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

o f Ion e , attract e d the r e ptil e s ang e r its crest b e gan to



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 . W itch , co m man d thy creature , or thou wilt


se e it de ad !
44 INT ER P R ETIV E R EA D IN G

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


. .

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
.

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


sp .

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 .
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


46 INT ER P R ETI V E R EAD IN G

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
o r Sh a ksp e a r e could n ot r e form for m e in words ? The
-

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 47

be 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 .

Be auty is th e mark G o d s e ts u p on virtu e Ev e ry .

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

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


o 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 scaff old B ut ,
.
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 BISHOP


PA RT I
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


t i na t i o n
. I h av e b ee n walkin g for four days S i nce I l e ft
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
.
50 INT ER P R ETIV E R EA DI N G

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
t o sle e p in a doorway I was lyi ng down o n a stone in
.

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 ?
.

D o you keep an inn ? I hav e mon e y , 100 francs 15 sous ,


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 ,
.


a s if h e had not compr e hend e d , that will not d o Di 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 ,

di na r y
. H e began stamm e ring like a lunat i c .

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 " . Ge t o u t , dog

th at is wh at i s always said
.

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
sh e was wh o s e nt m e here ! I shall h a v e supper , a bed
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



passport to his p ocket , and sa t down Yo u a r e human e ,

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 ?


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

yo u : 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



hi s h and . You need not have told me wh o yo u w e r e ;
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


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

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 .

0 O O O

AS 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
W O RD P I CT UR ES 55

nook , and 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



.

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
,

slumbers Ther e w as al most a div i nity in thi s unc o n


.

sc i o usl y august m a n J e an Valj ean was standing in the


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

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 BISHOP

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 .

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

?
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 .

A 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
,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

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

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 !

N or 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 .


D owndropt 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 !

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 .

D ay 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.

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 II

C HA PT E R II

A tm 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 .

Study a selectio n as in all pre vious st e p s Memorize the .

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

i n the refo st t h e h owl of a wolf r o se and fell ,


l ong dr a wn ~

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 .
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

.


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 .

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 .


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
.

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

time . G ood night , D o n -


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 .


Go d preserv e u s ! said R a na l d to himself H e had .

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


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
.

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.


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 .

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 .

But now th e clearing was in S i ght The p ony w as far


.

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 ,

s hrill yelps , wer e clos e at th e colt s h e els Liz e tt e , ee t
.

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


.

se e th e m o ver his shoulder A hun dr e d yards mor e and


.

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
.

5
66 INT ER P R ETI V E R EA D IN G

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

.

/
I V va s afraid yo u you

H e r voic e broke i n sobs .

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 !


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

HY M N B EFORE SU NRI SE, IN T HE VALE O F C HAM OU NI

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

I n h i s st ee p cours e ? S o long h e s ee m s to pause


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,
68 INT ER P R ETIV E REA D IN G

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

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

Soft 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


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 ;
h

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

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


Shall b e div e st e d at the ap p oi nt e d hour
-

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
o f b e auty , h as this do i ng for h i m c o nstantly . Th e noblest
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
.

i n the r e , but in the st i ll , sma l l vo i c e Th e y ar e but the


.

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 ?


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

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 .

C louds 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 .
78 INT ER PRE T I VE RE A D I N G

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 :

,

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 ,


e they grants thou art boun d to o r gifts above measure
(B )
O ne o f thy cho i ce s o r o ne o f thy chances ,
(B e they tasks G od i m p o se d thee or freaks at thy
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 -

M e , w h o a m on l y Pi pp a ,o l d ye ar s sorrow
-

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



8O INT ER P RET I VE RE AD ING

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


a -

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 !

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


VVh 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 .


Swear , adde d E noch sternly , on the book .

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
6
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 .


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 ,
,

Hi s gazing in o n A nnie , h i s re solve ,


A nd h ow he kept it . A s the w oman heard ,
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

I n M r L owell s A ppledore , for example , n otice

sen se . .

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
.

pea te d N otice th e u se o f liquids an d the repetition o f


.

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

AP L E D OR E ,
P 1

A 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, -

*
See La ni e r S c i e nc e o f E ngl ish V e rse

s

.

! 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 .
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
,
. A . C . M c C l ur g Co .
T O NE C O L OR 87

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
90 INT ER P RE T I VE RE AD IN G

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 ,


-

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
,

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 ;
T ONE C O L OR 91

C onfoun ding , astounding , dizzying , and deafenin g


The e ar with i t s sound .

C ollecting , proj ecting reced i ng and speeding ,


,

A nd shocking and rockin g , and dart i ng and p arting ,


And thread i ng and spre ading , and whizz i ng an d hissin g ,
And dripp i ng and skippin g, an d hi t t ing and spl i tt ing ,
A nd shining a nd tw i n i ng and ratt lin g an d battling ,
,

A nd shak ing and quaking , and pouring and roaring ,


A nd w avin g an d pa v i ng an d tos sing an d crossin g ,
,

And ow ing an d going , an d ru nnin g and s t u nning ,


.

And f b am i ng and roaming , an d dinning an d spinnin g ,


And dropping an d hop p ing , and working an d j erkin g ,
And guggling and struggl i ng , and heav i ng an d cleavin g ,
And mo aning an d groaning ;
And glittering and i tt e r i ng an d gat hering an d feathe r in g
, ,

A nd whitenin g and brightening , and quive ring and shiver


i ng ,
And hurryin g and skurry i ng , an d thundering and o und e r
i ns ;

D ividing a nd glid i ng and slid i ng ,


And fal lin g an d brawling and sprawling ,
And drivin g and riving an d striving ,

And sprinklin g and twinkling an d wrinkl i n g,


And s ound i ng and bounding and rounding ,
A nd b ubbling and troublin g and doubling ,
A nd grum bling an d rumbling and t umbling ,

A nd clatterin g an d batterin g and shattering ;


R e t reating 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 ,


92 INT ER P RE TI VE RE AD ING

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
o f the white snail s pearly s h el l)

( Twas

made
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

Some 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 !

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 *

R hythm , 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 .

ODE O N ST .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

.
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

V .

Sha r p 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 .

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 .

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 .

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 .

C ome 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 .

2 .

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 .

3 .

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 .

4 .


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 99

5 .

Is 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 .

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 ;

7 .

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 .

8 .

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 .
100 IN T ERP RETI VE RE AD IN G

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 .

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 E NN Y S O N .

T H E C H AR M S OF R U RAL LIF E

occupation there is noth ing me an and debasin g


I n ru r al .

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
R HYT HM , M O VE M E NT 101

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


Such
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 .
102 INT ER P RE TI VE RE A D I N G

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 IRVIN G .

F LO W G E NTLY S W EE T
, 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

She 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 .

A 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 .

She 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 .

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 105

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 ;
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

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 .

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 107

IV .

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


To sympathy wi t h hopes an d fears i t he e d e th not ;

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 ,
I know n ot how thy j oy we ever should come 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

Pe r sonation 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 .

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 .

(E nt 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 .

Si r Au th .V ery apprehen sive , I dare sa y, Jack Wh at , .

you are recruiting here , hey ?


Abs . Ye s , Sir , I am o n duty .

Si r Anth .W ell , Jack , I am glad to see you , though I


110 INT ER P RET I V E 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 .

S i r Au th I h ope your prayers may be hea r d , with all


.

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 .

Si r Anth And it is my wish , while yet I live , to h ave


.

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 .

Si r Au t h I am glad you a re so sensible o f my atten


.

tion an d y o u shall be master of a large estate in a few


weeks .

Abs . Let my futu r e life , sir , speak my gratitude ; I


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 ?


Si r Ant/ t O h , that shall be as your wife chooses
. .

Abs . M y wif e , sir !


Si r Anth Ay, a y , settle th at between you settle that
.

between y ou .

Abs . A wife si r , did you say ? ,

Si r Au th Ay , a wife why , did not I mention h e r b e


.

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

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


r i a ge
the fortune is saddled with a wife but I supp ose

that makes n o d i fference .

Abs . Si r ! si r ! you am aze me !


S i r Au t h W hy wh at the devil s the mat ter wit h the
.
,

fool ? Just now you were all gratitude an d du t y .

Abs . I w a s, sir , y o u talked to me o f indepen dence and


a for t une , but n ot a word of a wife .

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
,

with the live stock on it , as it stands


'
.

Abs .If my happiness i s to be the price , I must beg


leave to decline the purchas e Pray , si r , who is th e lady ?

Si r A u t h W h at s that to y o u , si r ? C ome , give me


.

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 !

Si r Au th I a m sure , sir , tis more unre asonable in you
.

to Obj ect to a lady you kn o w no t hin g Of .

Abs .You must excuse me , si r , if I tell yo u , once fo r


all , th at in this p oint I ca nnot obey you .

Si r Anth Hark ee , Jack ; I h ave heard y o u for s ome


.

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

Si r Au th ! ounds ! sirrah ! the lady sh all be as ugly as


.
112 INT ER P RET I VE RE A D IN G

I 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 !


Si r Au th. None Of your sneerin g , puppy ; no grinning ,

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 !

,

Abs . Si r , I h Op e I know my duty better .

Si r Ant h . None o f your p as sion , si r ! n one o f your vio



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 .

Si r Au th .

Tis a confounde d lie l I know you are in a

passion in your heart ; I know you are , you hypocritical


young dog ! but it won t do
.

Abs . Nay , si r , upon my word


Si r Au th

. SO y o u will y o u t ! can t you be cool like
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 ! Ex i t Si r Ant h o ny


! .

Abs . M ild , gentle , considerate father ! I kiss you r


hands !
P ER S O NATI ON 113

(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

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 .

Abs . C e ase your impert i nence , si r , at present D i d yo u .


-

come i n f o r nothing more ? Stan d o u t of th e way !


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 !

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

(E nt er E r r a nd B oy
) .

B oy .M r Fag ! M r Fa g ! Your master calls you


. . .

Fa g W ell , y o u little dirty puppy , you nee d no t bawl


.

so !

The meanest disposition ! th e
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
,

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 .

enough , faith ! M y father wants to force me to marry the


8
114 INT E R PR E TI V E RE A D IN G

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

. .

! p
St e s a si d e .

E er S i r Anth ony Abs o lu te


( nt .
)
Si r Au th No I ll die s ooner t han forgive hi m

. .

D i e , did I sa y ?

I ll live these fty years t o p l ague him .

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 !
.
,
-

W h o can h e take after ? B ut I have done with him ; he s

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
. . .

S i r Anth Fellow , get o ut of my w ay !


.

Abs . Si r , you s ee a penitent before you .

S i r Au th I se e an impudent scoundrel before me


. .

Abs . A sincere penitent I am come , si r , to a c knowl


.

e dge my error , and to submit entirely t o your will .

Si r Au th W hat s that ?
.

Abs . I h ave been re volving , and reecting , and consider


in g o n your past goodne ss , an d kin dness , and condescension
to me .

Si r Anth W ell , si r ?
.

Abs . I hav e been likewise weighing an d balancing what


you were please d to mention concerning duty , an d obe di
ence , and auth ority .

Si r Anth W ell , puppy ?


.

Abs . Wh y, then, sir , t h e result o f my r eection s is a

res olution to sacrice eve r y i nc l i na t r n Of my own to y our


i

s atisfacti on .
P ER S O NAT I O N 1 15

Si r Au th 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


. .

Si r A u t h W hy then J a ck , my dear Jack , I will now


.
,

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 ?


.

Abs L an guish ! W hat , the L anguishe s of W orcester


.

sh ire ?
Si r Au th W orce stershire ! no
. D i d you never meet
.

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 ?


-

S i r Au t h Squ i n t s !
. A re d h aired girl ! ! ounds ! n o !
-

Abs Then I must h ave forgot ; it can t be the s ame


.

person .

Si r Au t h Jack ! Jack ! W h at th i nk you O f bloomin g ,


.

love breathing seventeen ?


-

Abs A s to that , sir , I am quite indiff erent


. If I can .

ple ase you in th e m att er , t i s a l l I de s i re



.

Si r Au th N ay , b ut Jack , such eyes ! such eye s ! so i h


.

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
. .

! Asi d e
Si r Au th Then Jack her neck ! 0 Jack ! Jack !
.
, ,

Abs And which i s to be mine , si r , th e niece o r t h e au nt ?


.
116 I NT E R PR E T I V E RE A D IN G

S i r Auth . 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 .


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

You h ave been layi g h hypocrite hey ! I ll


o u ? n t e
y p ,

never forgive you , if you ha n t been lying an d playing th e

hyp ocrite .

Abs .I m sorry , sir , th at th e r espect and duty w h ich I


bear to you sh ould be so mistaken .

Si r Au th Hang your r espect and duty !


. B ut come
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 .


PER S O NATI O N 117

Promet h ean torc h t o y o u come along I l l neve r forgive



.


o u , if you don t come back sta r k mad with rap t ure 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 .

AS YOU LIK E IT
ACT I S C E NE
. 111.

(E nt er Cel i a a nd R osa l i nd) .

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
. .

Cel . N O , thy words a re too precious to be cast away


up on curs ; throw some of them at me ; come , lame me with
r easons .

R os Then th ere w ere two cousin s lai d up ; when th e


.

one should be lame d with r eason s a nd th e other mad with


o ut any .

C el . B u t is all this for your father ?

R os N o , some o f i t is for my ch i ld s father


. 0, how
.

full o f briers i s this working day wor l d ! -

Ce l. They a re but burs cousin , thrown upon t hee in ,

holiday foolery : if w e walk n ot in th e trodden paths our ,

very petticoats will catch them .

R os I could sh ake them Off my coat : these burs are in


.

my heart .

Ce l. He m them away .

R os .I would try , if I could cry hem and h ave him .

Ce l. C ome , co m e , w restle w ith thy a ffection s .

R os .0, they take the p art Of a bet t er wrestler than


myself !
Cel . O , a good wish u p on y o u ! You will try in time
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


118 IN T ER P RET I VE READ ING

den , you should fall into so stron g a liking wit h old Si r


'


R owl and s youngest so n?
R os The D uke my father loved his fathe r de arly
. .

C el. D o t h it t heref o re ensue t h a t you sh ould love hi s


so n dearly ? By this k i nd o f ch a se I should hate h im , for
,

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


.
, .

Cel . W hy should I n ot ? do t h he n ot de serve well ?


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 nt 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 with you r s afest h aste


And get you from our court .

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

SO near our public court as twenty miles ,


Thou diest for it .

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 ,

Never so much as i n a th ought unborn


D i d I offend your Highness .

D u ke . Thus d o all traitors ;


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 .

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

D u ke 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 .

Ce l
. D e a r s o ve r eign hear me speak
, .

D u ke A y , C e l i a ; w e st a y d h er for you r s a ke,


.

E lse had sh e with her fat her ranged alon g .

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 ,

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 .

D u ke You are a fool Yo u , niece , p r ovide yourself :


. .

If you outstay t h e time , upon m ine hon our ,


And in th e greatness o f m y word you die , .

! 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 .

I cha r ge thee , be not th ou more grieved th a n I am .

R os I hav e more cause


. .

Ce l . Thou h ast no t , cou sin ;



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 .

Cel .N O , hath no t ? R osalin d lacks then t h e love


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 ?
.

C el. T O seek my uncle in the forest o f A r den .

R os A las , what danger will it be to us ,


.

M aids as we a r e , t o travel forth so far !


B eauty provoketh thieve s sooner than gold .

Cel .I ll put myself in poor and me an atti r e


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 ,



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 ?

R os .I ll have n o w orse a name than Jove s own page ;

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 ?


Ce l
. He ll go along o e r th e wide world with me ;


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 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

Touc h . W e Sh a ll nd a time , Audrey ; p atience , gentle


Aud r ey .

Au d . 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 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 , .

Au d . Go d ye good even , W illiam .

Wi ll . A nd good even to y o u , sir .

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 ?
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
. .

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
. .

T o uc h . Thank Go d a good answe r Ar t rich ? .

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 ? .

Wi ll. Ay , Si r , I h ave a pretty wit .

T o uc h Wh y , thou s ayest well


. I do now remember a.


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 ?
Wi ll. I do , si r .

T ou c h G ive me your h and


. Ar t thou learned ?
.

Wi l l No , sir
. .

T ou c h Then le arn this of me : to have , is to h ave ; for


.

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

p e r i sh e st ; o r , to thy better underst a ndin g d i est ; o r , to ,


'
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 .

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

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


Possess it merely Th at i t S h o u l d c o me t o this !
.

But two m onths dead ! n ay , not so much , not two :


124 IN T ER P RE TI VE RE A D ING

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 .

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
. .

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 the


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 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 ,
.
-

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 ,


P ER S O NATI O N 125

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 .
)
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

B rin g 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 ?
,

os t bec ko ns Ha m l e t
! G h .

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
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 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

.

Ho r . Have after To wh at issue w i ll th i s come ?


.

Ma r . Something is rotten in the state o f D enmark .

Hor . He aven will direct this .

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 ecause I knew the man were slighte d O ff


, .

B r u tu s
. Yo u w r ong d yourself to write in such a case

.

Ca ssi u s. In such a time as this it is no t meet


That every nice o ff ence should bear his co m m ent .

B r u tu s
. Let me tell yo u C assius yo u yourself
, ,

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 .

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 :
,

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 ,

And no t for j ustice ? Wh at , shall o ne o f us ,

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 .
PE R S O N A T I ON 12

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 .

C a ssi u s U rge me no m ore , I shall forget mysel f ;


.

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 ?
C a ssi us 0 ye gods , ye gods ! mu st I endu r e a ll
.

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
9
130 INT ER P RE T I VE RE A D IN G

I s aid , a n elder s oldier , n ot a better :


Di d I say bette r ?
B r u tu s If you did , I care no t
. .

C a ssi us W hen C aes a r l i v d , he durst not t h us h ave


.


m ov d me .

B ru tu s P eace , pe ace ! y o u durst not so ha ve tempted


.

him .

Ca ss i u s I durst not !
.

B r u tu s . NO .

C a ssi us W hat , durst not tempt him !


.

B r ut u s For your l i fe you durst not


. .

C a ss i us D o n ot presume too much upon my love ;


.

I may do that I shal l be sorry f o r .

B r u tus Yo u have done that you should be sor ry fo r


. .

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 ,
W hich I re spect not I did send t o yo u
.

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
. .

B r u tu s. You did .

C a ssi us I did not : h e was but a foo l


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 .

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 utus . I do no t like you r faults .

C a ss i u s A frien dl y eye could never s ee such faults


. .

B r u tu s
. A a tt e r e r s w ould n ot though they do appear

,

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 .

C a ss i u s .Hath C as s i u s l i v d

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 ?
-

132 I NT E RPR E T I V E RE A D IN G

B r ut us .W hen I spoke th at , I was i ll t e m p e r d t o o -



.

C a ss i us D O you confe ss so much ?


. G i ve m e your hand .

B r ut us .A nd my heart t o o .

C a ss iu s O B ru t us !
.

B r ut us .W hat s the m atte r ?

C a ss iu s Have not y o u l o ve enough to bear with me ,


.

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 .

M A C B ET H
AC T I S C EN E V
, .

(E nter L a dy M a cbet h, ) r ea d i ng a l ette r .

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


.

of it , cam e missive s from th e king wh o all h aile d m e ,


-

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


,

time with
,
Hail king that sh alt be !
,

, 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 ;
P ER S O NAT I O N 133

Ar t not without am 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 ,
v

W hich fat e and metaphysical aid doth seem



To have thee c r o w n d withal .

(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

.

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 ;


He brings great news .
! Ex i t M essenge r .

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 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 ! -

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 ?


M a cb . T o morrow , a s h e purp oses
-
.

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 ,
.

Look like the time ; bear welcome in your eye ,


Y o ur hand , your tongue : look l i ke the inn ocent owe r ,
Bu t be th e ser p ent under t He th at s c oming
.

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 .

L a dy M O nly look up cle ar ;


T o alte r favor ever is to fear :
Leave all the rest to me .
! E x eunt

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 .

(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 ?
Ge nt Since hi s maj e sty went into the eld , I hav e seen
.

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 ?

Gent That , si r , which I will not r epo r t after her


. .

P hys Yo u may to m e , and tis most m ee t yo u should


.

.

Gent Neither to you no r any o ne , havi n g n o witness


.

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
. .

P hys .Ho w came sh e by th at light ?


Gent . W hy , it stood by her : she has light by he r con
t i nu a lly ; tis h er command

.

P hys .You se e , her eyes are open .

Gent . Ay , but their sense is Shut .

P hys .W hat i s it She doe s n ow ? Look , how she r ubs


h e r h an ds .

Gent . I t i s an accustome d action with h e r , to seem thu s


136 INT ERP RE TI VE RE A D IN G

washing her han ds : I ha ve known her conti nue in this a


quarter O f a n h our .

L a dy M

Yet here s a sp ot .

P hys .Hark ! she speaks : I will set down w h at


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
now ? Wh , at will these han ds ne er be clean ?
N o more

0 that , my lord , n o more 0 that : you mar all with thi s
starting .

P hys .Go to , go to : you h ave known what y o u should


no t .

Gent . has sp oke wh at She should not , I am su r e Of


Sh e
that : heaven knows what sh e has kn own .

L a dy M Here s th e smell of the blood still : all the


.

perfume s o f Arabia will no t sweeten this little hand O h , .

oh , Oh !
P hys W hat a sigh is t h e r e !
. The he art is s o r ely
charged .

Ge nt . I would n ot h ave such a h ea r t in my bosom , fo r


th e dignity o f th e whole body .

P hys .W ell , well well , ,

Gent . Pr ay Go d it be , si r .

P hys .This disease is beyon d my p r actice : yet I h ave


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 ;


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 .

P hys . W i ll sh e go now to bed ?


Ge nt . D irect l y .

P hys . Foul whi sperings a re abroad : unnatural deeds


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 .

Go d , Go d forgive us all ! Look after her ;


R emove from h er the means o f all annoy a nce ,
And still keep eye s upon her So , good night : .

M y m ind sh e has mated , an d amaze d my sight :


I th i nk , but dare no t speak .

Ge nt . G oo d night , good doctor ! Ex eunt . .

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 !
.
-

I s there an evil , by the wrat h o f Jove


R eserve d f o r (Ed i pu s unhappy race ,

We h ave not felt already ? Sorrow an d sh a me ,



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
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

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 .

Ant. K now , then , from C reon , o ur indulgent lo r d ,


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 139

W ouldst thou attempt ? W hat i s it ? Speak !


T O j oin
And take the body , my Ismene !
I sm . Ha !
And wouldst thou dare to bury it when thus ,

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
:
.

I sm . Hath no t the kin g


Pronounced it death to all ?
Ant . He h ath n o right ,
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 ,
B ut misery an d ruin ? P oor , w e ak women ,
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

AntW 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 .

I sm . O h , do no t tell thy pu rp ose ,



I beg thee , do not ! I shall ne er betray thee .

Ant I d have it known ; and I shall h a t e t h ee mo re


.

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


.

.
P ER S O NATI O N 14 1

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 .

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
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
. .

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 .

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
.

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


.
,

c l u d e me if tho u wilt I meant not so s oon to sa y I loved


. .

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 .

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

Since th e n , thou hast no t a dm itted m e . B elieve nothing


that h e can sa y Fare well
. . 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 nt er I o ne )
-
e .

N yd i a You hav e w r itte n to G laucus ?


.

I o ne . I h ave .

N yd i a And will he thank th e messenger wh o gives him


.

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 yd i a N oble Ione , G l aucus has been that to m e which
.

neither fortune no r the g o ds have b ee n a fr i end !

I one . W h y should I blush t o sa y that Glaucus is worthy


o f thy grat itude ? G o , my N ydia take t o him thyself this

letter but r e tu r n again



Nyd i a , I have no sister , wilt
.

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
.

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


. .
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 , ,

I n natu ral conversat i onal tone s Th ink of the audien ce as


.

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 ,


before an aud i ence B u t do n ot S p eak un l es s y o u have
.

s ome t hing t o sa y Sa y wh at you have to sa y simply and


.

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

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 14 5

Now if C romwell w a s a general , at least this man was a


soldier .

N ow , 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
s

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 . .

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
14 6 INT ER P RE T I VE RE A D I N G

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


. my Of

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 .


D IR E C TNE SS 14 7

It 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
i

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
14 8 INT ER P RE T I VE RE A D IN G

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, no 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

Speeche s 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 .

S EL E C T I ON S

OUR D UTY TO THE 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 .
15 0 IN T ER P RE T I VE RE A D ING

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 .

Such a course could not be thought o f And yet had w e


.

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


o f the A merican people U ntil the treaty was rati e d o r
.

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

only 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 .

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


e r nm e nt , aff ordin
g them every op p or t unity to p r os e cut e
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 .

N C imp er ial designs lurk in the A merican mind They .

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 ,
fre e
T he c a n c o nq u e r b u t t o sa v 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 ;
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 *

C ommon 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


it
By p e rm i ssi on of i
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
power which govern s the u niverse . T o com p lain O f the
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


z l i ng contrasts which belong to a vulgar gre atness . O rder
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 .

Al l th e great etern al force s act in sol e mn silen ce . The


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


.
154 INT ER P RE TI VE RE A D IN G

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
yo u . The answ er is plain and simpl e enough ; it is this ,
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
15 6 INT ER P RE TI VE RE A D ING

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

It 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) .
D I V I SI ON I II

Cha p ter 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


s

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
ou s vicissitude s O f fortune Ofte n discouraging ; in situations
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


genu i ne sen se . Bu t , in my opinion , i t i s unnecessary and
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
162 INT ER P RE T I VE 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

In order 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

thoughts to y ou r audience . B e in sy m p athy with the m .

S E L E C T I ON S

MARC A NT O N Y

S 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
So let it be with C aesar The n oble B rutu s
.

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 1 65

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

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


.

o r a ne o u sl B e full o f resources Spe ak with the e l o


p .
y .

q ue nc e born o f d ee p feelin g an d s t rong conviction I nspire


.

with your o w n lofty idealism . I m press with your o w n


re sistl e ss will . A tt r act with your personality 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
a 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


But ,
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


O f the s avage ? to call into civilized alliance the wild and
-
168 INT ER P RE T I VE R EA D I N G

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

o n those o f morality ; for it is perfectly allowable , says

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
.

subj ect , an d in the occasion A ff ected passi o n , intense


.

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 .
17 0 INT ER P RE TI VE RE AD I N G

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 , o d l i ke a c ti n
g o

D A N I EL W EB S TER .

E XT R A CT F R O M FIR S T B UN KER H ILL M O NU M E NT


O R TI O N
A *

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
smoke and ame rising from burnin g C harlestown T he .

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

me an s o f dis t i nct ion and defence A l l is p e ac e ; and G o d


.


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
o

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


a no t h e r m o rn ,

Ri se n oh m id no o n

an d sky o n which you clo se d your eye s was cloudless


th e .

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 ;
17 2 INT ER P RE TI VE RE AD IN G

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
w ith the sea ; but t hy memory shall no t fail ! Wh ere so e v er
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


the hearts o f his countrymen !


W ashin gton is all ou r
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


-

and th e world , W h at character o f the century upon th e ,

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 m ul t ti 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
,

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


17 4 INT ER P RE TI VE READ IN G

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 PA R T *

On 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
p e t ua t e d the race
. W hen in 17 7 6 the negro w as asked to
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


9"Use d b y p erm ission Of th e a u tho r .
P ER S U ASI O N 17 5

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
celebrate . Yo u kn o w u s
. 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


. .
178 INT ER P RE TI VE RE AD ING

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 .

Ad a p te d f m Mr O sk Guttm a nn s G y m nastic s f the Voic e


ro . ar

o .

By
pe rm issio n o f th e p ub li s h e M E d ga r 8 We rner r, r. . .
PA RT II

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 ,

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 .

The walls o f these cells are thin an d highly elastic In .


18 0 I NT ER P RE TI VE R E A D IN G

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
p Here puri fi c a t ion of th e blood
.

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

R esp i r a ti o n consists Of t wo acts ,


i nspirati o n and expira
t i on .

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
. .

ra 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
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
,
. .
-
a .

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 .
18 2 IN T ER P RE TI VE RE A D ING

C orrect 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 .

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 .

inspiration , the ribs should press outward like th e stav e s


o f a barre l The clothing about the thr o at should be loose
.

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
1 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 .


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


a b OV S the belt line. I nhale v er y slowly an d deeply through
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 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

The larynx i s an exp ansion o f the trache a . It consists


of s everal cartilages and muscles .
T HE V O C A L O RG ANS 18 5

At 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
edge o f th e back part o f F IT S T he La m 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 .

back o f the larynx E ach .


Th y id I F

t
f ro il ge
ca

a o

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 .

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
186 INT ER P RE T I VE RE AD ING

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
. . 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 .

5 . T h yr o id c a rti l a ge The vocal co r ds are two


.

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 -

th e edge o f e ach lip j ust with


a .

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


o f women Those of men are a little over a half inch in
.
-

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
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 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

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 ,

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 .

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 .
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


, ,

o ff from the mouth In ton e production an d sp ee ch the


.

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 III

STEPS AN D EX ERCI SES IN VO CAL C ULTURE

1 . Placing o f tone in the t w o n ares .

a D irections ,
.

Sing a ton e m e nta lly Then imagine i t coming


.

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
( ) S peak 16 l a l a 1e .

( 3 ) R ecite the followin g .


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
. . .

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
,

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 .


192 INT ER P R ETI V E R EAD IN G

b . 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 .

0 . The exercise s ,
()1 Tak e a long breath .Hum m ng , an d sus

tai n the ton e until it grow s very musical , and


u ntil its vi b rations are felt throughout the face .

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 .

3. Support tone by the diaphragm and the a b d om i


of

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 ,
.

( )1 Practice the bre at h in g exercises .

( )2 S in g l o 16 l o 16 in a full ,
rm ,
an d sweet t o n e .

( )3 R e cite the following :


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

4 . Smoothn ess of tone .

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
, .

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 to

repeatedly as lon g as possible .

(3) R ecite th e following :

Flo w gently , sweet Afton , aman g thy green braes ;


Flow gently , I ll s i n g thee a song in thy praise

.

5 . Fle x ibility o f tone .

a D irections ,
.

T hi nk a d esc end i ng singin g scale Sing th at .

scale T hi nk a descen ding sp ea ki ng 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, 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 ,
.

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
and up on the mind Th e mind must rst con
.

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 .

7 . Force o f tone .

a D irections,
.

Sin g mentally a str ong , direct , forceful t o ne .

Sing that ton e aloud Think a speakin g tone


.

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 .

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 .

(3 ) C ount slow l y an d with great vigor from 1 to


10
.

8 . 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.

r o w f u l thought Expres s th at thought throug h


.

ton e alon e using only a sylla b l e , as ah , o r o h , o r


,

10 In the same way express sur p ris e , fe ar ,


.

warning , distrust , horror , cont e nt vastnes s , di s


,

tance , harshn e ss , lullaby tone s , cold , warmth ,


c a lm fury , e tc
, .

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 ,
.

0 o r o h , expres sin g many


( )
1 S peak th e syllabl e 1
differ e nt shade s of th ought o r f ee lin g .

( ) R ecite the following , and suit t h e s ound to


2
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,

196 INT ER P R ETIV E R E A D IN G

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 .

P . B . 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
. . .

D I V I S I ON IV

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
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

T HE 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 ,
198 INT ER P R ETI V E R E A D IN G

there will be muscular response , o r gesture B ack of every


.

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 I
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 .

1. Exercise s for the limb s .

a The arms an d h ands


. .

( )
1 R elaxation o f the arms , fr o nt .

a
( ) D escription ,

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


th e sides
. R epeat .

()
6 The counts ,

Weight on balls o f the feet ,


Arms horizontal , front ,
R elax arms,
Arms horiz o ntal , fr o nt ,
R e lax arms .

R o f arms at the sides


( )
2 elaxation .

a
( ) D 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 .

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 ,

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 .

()
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
.

open and r e laxed dur i ng this e xercise .

()
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 ,

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 .

()
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 ,

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 ) G ive th e .

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
. .

R elaxation o f th e l e gs
( )
1 .

(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 .

( 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 .

R otary swing o f the le gs


( )
2 .

( a ) D e scrip tion ,

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 .

()6 The cou n ts ,

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 .

(3) Re laxation o f the feet .

a
( ) D escription ,

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
202 INT ER P R ETI V E R E A D ING

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 .

()
6 The counts ,

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 ,
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 ,

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
. .

e rect position . R elax t o the right Take an erect


.

p osition R el a x to the left Take an erect p o si


. .

tion .

()6 The counts ,

W eight on balls o f feet , 2, 3, 4 ,


Front , R ight ,
Erect , Erect ,
B ack , Left ,
Ere ct, Erect .

2 R otary m ovement o f the upper half of t h e tr un k


( ) .

( ) e scription ,
a D
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 .
R EL A X IN G EX ER C I SES 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
,
.

()b Th e counts ,

Front , 2, 3, 4 . Left , 2, 3, 4 R ight , 2 3, 4 ,

R ight , 2, 3, 4 . Front , 2, 3, 4 Front , 2, 3, 4


B ack , 2, 3, 4 . Left, 2, 3 4 ,
Position , 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 .

( 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
. .

( 1) R otary movem e nt of the head .

( )
a D escri p tio n,

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 , 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

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 .

1 . B ackward 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
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, 3, 4 , R aise c h est , 2, 3, 4 ,
R ight hip , 2 , 3, 4 , B ackward , 2, 3, 4 ,
B ackward , 2, 3, 4 , R ig h t , 2, 3, 4 ,
L eft, 2, 3, 4 , R ais e chest , 2, 3, 4 .
P O I SIN G EXER C ISES 205

2 . T h e stand i n g p o sitions .

()
a D escriptio n,

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 .

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 .

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 o .

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 ,


Fm . 9 .

Ad
va nce d p osm o n .
earne stn es s , or sympathy .
206 IN TER P R ETI V E R EA D IN G

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
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 ,
.

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 ,

Advanc e right foot 2, 3, 4 ,


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
, , , .

3 . 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 .

vanc e the l e ft foot at th e angl e of about and

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 , .

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 .


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

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
,
.

5 . 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 .

()
b The counts ,

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
, , .

6 . 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
c h est letting th e right cheek l e ad
,
This is the attit u de .

o f a ffe ction Mov e th e h e ad backward in the same line


.

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

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 .

()
6 Th e counts ,

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 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 ,
.

2 By the line in which the arm move s,


.
P R IN C IPL ES O F GEST U R E 211

!
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
.

'

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 .

2 . T HE LINE IN W HICH TH E AR M MOVES


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 .
212 INT ER P R ET IV E R EA D IN G

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
.

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 . .

l
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 .

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
,

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 or

fee ling , pow e r o r forc e .

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
, .

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 .

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 ,

o r ge sture prope r with forc e A g e sture may also be made


,
.

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
.

H and supine (palm upward ) F


( )
a i g 12 . . .

This p osition e xpr e ss e s giving , r e c e ivin g , asking ,


sustaining , communicating .

FI G . 12
. Hand S up i ne . FI G . 13 .

Hand Pr o ne .

()
6 Han d prone (palm downward ) Fi g 13 . . .

This p osition ex p re ss e s cov e ring , p rotection, p r ohi


bitiou , depre ssion, force .
214 INT ER P R ETI V E R EA D IN G

()
c Ha n 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 .

(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 .

over th e s e cond j oint of


Ve tic al r .

the rst nger to the


secon d n ger ) Fi g 15 . . .

Th i s position e xpresse s will , threat , FI G H and .


forc e .
C l i nc h e d .

()e Hand in unemphatic index p osition ( rst ng e r


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
. .

e
emphatic limitation , d e
c x

P t on osI I .

ni t i o n, o r p o m t m g o ut .

( f ) Han d in e mph atic ind e x


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
s e con d Oi nt F I G 17 Em p h at i c Ind e Po i ti o n
. .

x s .

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 .

( )
g H and av e rt e d (han d s lanting ,

palm away from th e body ) Fi g 18 . . .

Th i s p osition express e s aver


FI G 18
. .

H and Averte d .
S 1011
P R IN C I P LES O F GESTURE 215

()
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
. . .

This p osition expre sse s sympa


thy , aff ection , g e ntl e ness .

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 . . .

T his position expresse s v e he


m e nce .

(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

. . .

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


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 .

8 . T HE R E S P O N S E O F TH E 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 .
218 INT ER P R ETI V E R EA D IN G

D I V I S IO N IV

RESPON SIVE G EST U R E EX ER CI SES *

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 mu si cal acc omp anime nt use



Narc i ssu s
,

by Ethel b er t
Nev in .
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

of 45

an d lower to th e S i d e .


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 .

(6) T h e counts ,

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
. of dir e ct e ntr e aty as s e rtio n or afrmation , .

( )
a D ir e ctio ns ,

Take the weight on the balls of the feet W it h .


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 .

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
, , , ,

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 , ,
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 .

4 . D oubleg 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


,

0 to a point dir e ctly in front o f th e ch e st At the



.

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 .

()6 The counts ,

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
, , .

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 .


222 INT ER P RETI V E R E A D ING

( )
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 .

6 . 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

()
b 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 D ir e ctions
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.

8 . 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
224 INT ER P R ETI VE R EA D I N G

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
. .

(6) The counts ,

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
, .

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 .

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 .

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 ng p o si t i o nn i nt i l th e wrist is depr e ss e d and lowers

the han d . Then th e h an d should b e spread open


an d se e m to oat downward on the air R aise and
.

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: 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 .

11 . D escriptive gestur e s o f th e risin g of somethin g vast


and the fallin g o f something vast .

( ) D irections ,
a

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
226 INT ER P R ETI V E R EAD IN G

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 .

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 ,

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


a ge stu re o f m agnitude W ith h ands supine , r e
.

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
0
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


.
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 ,

3, 4 , 1 2, 3 4 ,
At the se cond count 3 fold th e
,
.

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


at 0 to the sides I n this last downward mov e

.

ment the face and b o dy sh o uld express d e j e c


tion .

()
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 ,, ,

D own vast falling depth ) , 2, 3, 4 , 1,

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
, , , .

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 D ir e ction s ,

Tak e th e weight on the ball of the right fo o t .

With the hand supine , raise th e arm directly


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

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 229

At lower the arm to the side .

R epeat these gesture e x ercise s for t h e left side .

(6) The counts ,

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 ,
,

R e tu r n (hand e dgewise , pal m i nward App e lla


.

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 ) ,
,
2, 3, 4 ,
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 .
230 I NT ER P R ETI V E R E A D ING

14 . D ouble 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 .

(a
) D ir e ctio ns ,

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
.

i n front o f th e ch e st Tur n th e palms outward , and


.

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


wa r d to 90
Thi s is th e gesture o f exp a nse, o r e x
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


.

()
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

( edgewise palms inward Limita


, .

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 ,
GESTU R E EX ER C I SES 231

R eturn (hands edgewise , palm s inward ) , 2, 3, 4 , 1,


2, 3, 4 ,
Arms (hands edgewise , p al ms outwar d

o ut . 90
Se paration ) , 2, 3, 4 , 1, 2 3, 4 , ,

Re turn (hands e dgewise , p alms outw ard ) , 2, 3, 4,


1, 2, 3, 4 ,
Arms h ands p r on e 90 C alm

ou t
( . or d i ff usion ) ,

2, 3, 4 , 1, 2, 3, 4 ,
D own (hands prone ,
2 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 .

(6 ) The counts ,

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


. .
232 INT ER P R ETI V E R EA D ING

( )
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
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 .

Vo ca l Cu ltu r e Placing tone


.

.

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 .

Voc a l Cu ltur e Placing t o ne Pervasiveness o f t o ne



.
.

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
.

.

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


.

.

Gestur e B ackward p o ise of the hips an d standin g


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 .

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 .


Study o f Hamlet to the Players .

Gestu r e O blique transition and bo w



O bli qu e tr a n .

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

.

Vo c a l Cu ltu r e R evie w four step s



.

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 .

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
.
-
.

Vo c a l Cu ltu r e R eview rst f ou r



ste p 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 .

Tennyson recitals two days .

T E N T H W EEK
Tennys on recitals .

C riticism o f ren derin g .

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

.

Vo c a l Cu ltu r e Volume Force


. .

R e a d i ng Atmosphere
.

.

Gestu r e . R esp onsive exercise s 1 t o 5



.

T H IR T EE NTH W EEK
B r e a thi ng Fou r e x e rcise s
.

.

Vo c a l Cu ltu r e Tone col o r


.

R ea d i ng Tone color

.

Ges tu r e . R e sponsive e x erc i ses



6 t o 11 .

F O U R T EE NT H W EEK
B r e a thi ng Four exercise s
.
-
.

Vo c a l Cu ltu r e R eview volume , fo rce an d tone col o r



.

R ea d i ng .R hythm Mov e ment



. .

Ges tu r e. R esponsive exercise s 12 to 16



.

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
.
-
.

Vo c a l Cu l tu r e R eview rst fo ur ste p s



.

R ea d i ng R hythm

Movement . .

Gestu r e R esponsive e x ercise s 1 t o 8



.

SE V E N T EE N TH W EEK
B r ea thi ng Four e x ercise s
.

.

Vo ca l Cu ltu r e R eview last fou r ste p s



.

R ea d i ng Personation

.

Gestu r e . R esp on sive e x e r cise s 9 t o 16



.

EI G HT EE NTH W EEK
B r e a thi ng Four e x ercise s
.

.

Vo c a l C u ltur e R evie w eight step s


.

R e a d i ng Pers o nation

.

Gestur e R e view resp o n sive e x ercise s



.

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 .

INT ER P R ETA T I O N O F T HE D R AMA .

F I R S T W EE K
P hysi o logy The r espiratory a nd v o cal o rg ans
.

.

Vo ca l Cu ltu r e Placing tone Pervasivenes s


.

. .


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
.

.

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
. . .
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 .

R e hea r sa l of the term play .

T H I R D W EEK
B r e a thi ng e xercise s

Four .

Vo c a l C u ltur e Support of tone



Smo o thnes s . .


R ea d i ng . A s Yo u Lik e It , Act I , Scene III

. .

Gestu r e R es po nsiv e e xercise s 1 t o 5



.

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
.

.

Voc a l C u l tu r e R e view rst fou r step 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

.

Voc a l Cu ltu r e R evi e w four step 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 .

R e hea r sa l of the term play .

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

.

R ea d i ng . Hamlet s rst solilo quy




.

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
. .

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 .

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 .

Vo c a l Cu ltu r e D irection of tone



.


R ea d i ng . Macbeth , Act Scene V .


Gestu r e
Pantomime P e rsonation of Shakespeare s
.

c ha r acters Analysis of the personation


. .
O UT L INE O F C O U R SES O F ST U D Y 239


Ex te m p o r a ne ous Sp e a ki ng Th e plot of Macbeth

.

R e h ea r s a l of the t e rm play , with stage bus i ness .

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 .

Ex tem p o r a ne o ug Sp ea ki ng The characte r s o f Mac

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

.

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 .

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
B r ea t h i ng .e x ercises

Four .

Voc a l Cu ltu r e Tone color


.

R e a d i ng Antigo ne
.

.

Gestu r e P a ntomi m e Pers o nati o n o f Sh akespeare s



.

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 .

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 .

History of the English D ram a .

Structure of th e English D rama The Structure .

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 .

Giles 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


.

t i st s .

Moulton , R ichard G . Shakespeare as a D ramatic Ar


t i st .

Moulton , R ichard G The Ancient C lassical D rama


. .

Freytag, Gustav : Techniqu e of th e D ra m a .

G olden , W E History of the English D rama


. . .

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 OF STU D Y 24 1

Mabi e , Hamilton W : Shakespe are : Poet , D rama .

t i st , and Man .

Shak esp e ariana Vo l I P ortrait s o f Shakesp e ar e


. . . .

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
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
-
.

E a te m p o r a ne o us Sp e a king R e ad o ne oration and give

b i ography o f e ith e r the Earl of C hatham o r W illiam


Pitt .

T H I RD VVEE H
B r e a t hi ng F 0ur ex e rcises
.

.

Vo c a l Cu ltu r e Placing tone Pervasiveness



. .

R ea d i ng Ser i ousn e s s
.

.

Gestu r e R e sponsiv e e xercise s 1 to 5



.

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 .

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
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

.

Ge s t u r e R e spo nsiv e ex e rcis e s 12 to 16



.

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


.

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

biography of L o r d Erskine o r John B right .

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

.

Ges tu r e R e vi e w r e sponsiv e exercises



.

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 .

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
.

.

Ges t ur e R evi e w principl e s



of gesture .

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
.

.

Voc a l Cu ltu r e Force o f tone



.

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

.

E x te rnp o r a ne o u s Sp e a ki ng Giv e biograp hy o f S amu e l


Adams , o r Jame s O tis , o r F i sher Ames .

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
.

.

Gestu r e . O rigi nal work in connection wit h d e livery


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 .

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 .

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
B r e a t hi ng Four exercises
.

.

Vo c a l Cu ltu r e Volume Tone color



. .

R e a d i ng A lliance with the audi e nce



.

Ges tu r e
O riginal work Appeal , invectiv e , chal .

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
. .
24 4 O UT L I N E O F 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 .

SI XT EE NTH W EE K
B r e a t h i ng e xercises

Fo u r .

Vo c a l Cu ltu r e Volume Ton e color



. .

R e a d i ng P e rsuasion

.

Ges t ur e D e scriptive p antomim e from dictati o n



.

Ex te m p or a ne o u s Sp e a ki ng R e ad o ne oration and give .


t h e biography o f Edward Everett or W endell P h il


lips .

SEVE NT EE NTH W EE K
B r ea t hi ng Four exercise s
.

.

Vo c a l Cu ltu r e R e view an d explanation of st e ps in


voic e work .

R ea d i ng Volume
.

Ges tu r e D e scr i ptive pantomime from dictation



.

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 . .

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 .

tory . 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


. . .

B ak e r G eorg e P Th e Pr i ncipl e s of Argum e ntat i on


. .

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 .

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