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50 Ways to wear
accessories
Lauren Friedman
Copyright © 2018 by Lauren
Friedman.
All rights reserved. No part of this
book may be reproduced in any
form without written permission
from the publisher.
Library of Congress Cataloging- professional associations, literacy
in-Publication Data: programs, and other organiza-
tions. For details and discount
Names: Friedman, Lauren,
information, please contact our
1987- author.
corporate/premiums department
Title: 50 ways to wear accessories
at corporatesales@chronicle-
/ Lauren Friedman.
books.com or at 1-800-759-0190.
Other titles: Fifty ways to wear
accessories Chronicle Books LLC
Description: San Francisco : 680 Second Street
Chronicle Books, [2018] San Francisco, California 94107
Identifiers: LCCN 2017038586 | www.chroniclebooks.com
ISBN 9781452166483 (hardcover
: alk. paper)
ISBN 9781452166551 (epub,
mobi)
Subjects: LCSH: Dress accesso-
ries. | Women’s clothing. | Fashion.
Classification: LCC TT649.8 .F75
2018 | DDC 646/.3—dc23 LC
record available at https://lccn.
loc.gov/2017038586
Design by Jennifer Tolo Pierce
Typesetting by Howie Severson
Chronicle books and gifts are
available at special quantity
discounts to corporations,
 To my ancestors, and those that wish to be inspired.
This is also dedicated to the countless accessories I have
lost over the years. You are not forgotten.
contents

introduction 8
Caring for Your Accessories 14
Storing Your Accessories 16

The Looks
1. the Frosting 20
How to Wear Earrings

2. the northern lights 22

How to Wear Hair Accessories

3. the Catch of the Day 24

How to Pick Out Glasses

4. the spotlight keeper 26

How to Wear Makeup as an Accessory

5. the made in the shade 28

How to Wear a Hat in Hot Weather

6. the unlikely hero 30

How to Wear a Hat in Cold Weather

7. the triple crown 32

How to Dress Up with a Hat

8. the carmencita 34
How to Accessorize with Flowers

9. the head of the class 36

How to Wear a Necklace

10. the queen bee 38

How to Wear a Brooch
11. the brilliant sun rising 40
How to Wear Multiple Bracelets

12. the timepiece 42

How to Wear a Watch

13. the desert rose 44

How to Wear Rings

14. the parlor games 46

How to Wear Gloves

15. the ground swell 48

How to Wear Pearls

16. the fizzy pop 50

How to Wear Diamonds

17. the oracle 52

How to Wear Heirloom Jewelry

18. the speakeasy shimmy 54

How to Wear a Faux Fur Stole

19. the dandy 56

How to Wear a Tie

20. the rockabilly 58

How to Accessorize with Ribbon

21. the deal maker 60

How to Wear a Belt

22. the rise in ranks 62

How to Wear a Belt with Outerwear

23. The style wizard 64

How to Tuck a Long Belt

24. The sidecar 66

How to Accessorize with a Handbag
25. The city slicker 68
How to Accessorize with a Backpack

26. The toothpick fairy 70

How to Wear Tights

27. The pied piper 72

How to Wear Socks

28. The quick-change artist 74

How to Accessorize a Black Dress

29. The circulation desk 76

How to Accessorize Glasses

30. The ms. mix-a-lot 78

How to Wear Jewelry with a Scarf

31. The alchemist 80

How to Mix Metals

32. The combo bomb-o 82

How to Pair Shoes with a Bag

33. The bright flight 84

How to Accessorize a Monochromatic Look

34. The kingdom 86

How to Accessorize Animal Prints

35. The sightseer 88

How to Accessorize Stripes

36. The light dance 90

How to Accessorize Metallics

37. The power flower 92

How to Accessorize Florals

38. The passion fruit 94

How to Accessorize with Color
39. The dizzy spell 96
How to Mix Prints

40. The first crocus 98

How to Accessorize in Spring

41. The cherry bombe 100

How to Accessorize in Summer

42. The granny smith 102

How to Accessorize in Fall

43. The hot toddy 104

How to Accessorize in Winter

44. The pinning up 106

How to Dress Up an Outfit with Accessories

45. The party in the valley 108

How to Dress Down an Outfit with Accessories

46. The odalisque 110

How to Accessorize Loungewear

47. The woman who will 112

How to Accessorize When Making a
Professional First Impression

48. The striking stranger 114

How to Accessorize When Making a
Personal First Impression

49. The eleganza 116

How to Accessorize for a Dress Code

50. The everlasting bliss 118

How to Accessorize According to Mood

historical timeline 120

reading list 128
Acknowledgments 128
Introduct ion

Accessories are a universal language that bridges age, language, reli-

gion, creed, and any other superficial label we apply to one another.

Visit a foreign country wearing a unique pair of sunglasses or an

eye-catching scarf, and you will almost certainly find an admirer who

suddenly speaks the same language as you: the language of apprecia-

tion. In the span of a single afternoon while working on this book, I met

a new friend thanks to our mutual admiration of one another’s scarves,

I gained a new perspective with someone while we bonded over our

watches, and I ended up talking about God with a stranger after his

compliment of my shoes sparked a conversation.

8
Accessories are philosophically intriguing. They have long been used as

amulets, safeguards against evil, protective measures that are literally

held close to the body. There is a heady enchantment in accessories

that isn’t found in anything else you wear. A brooch can make you feel

safe, a hat can make you feel proud, a belt can make you feel ravishing.

These objects, which are often passed down from family members

or friends, are imbued with a sacred energy. I wear something of my

grandmother Enid’s, who passed away in 2015, every day. I feel as if I

am simply the current generational guardian, in a long line of wearers

and appreciators, of these objects: a newsboy cap, a turquoise ring, a

crocodile-skin clutch. In wearing these things, I feel my grandmother

protect me, guide me, adorn me. Accessories are a temporary inheri-

tance, a gift from the past that makes a promise for the future.

Accessories are constantly reinvented, and in no other aspect of fash-

ion are trends more fully felt. Accessories can tell a very detailed tale

about the history of humankind, yet we tend to have short attention

spans when it comes to these trends: The 2010s return of the ’90s-era

50 ways to wear accessories 9

choker could refer to the 1500s’ revival of the 1490s’ trend of wearing

a necklace snugly around the neck. Whether one chooses an acces-

sory to blend in or stand out, the individual choice of embellishment

is wildly personal. No other item we put on our bodies expresses our

unique inner desires, passions, and identities, nor tells a story of his-

tory, like the accessory.

Styles may cycle, and tastes may differ, but the truth is that humans have

always expressed themselves through accessories. In the process of

writing and illustrating this book, I noted with a fresh appreciation that

in every school photo through twelfth grade, I’m wearing a constantly

changing parure (set) of accessories—the passage of time marked not

just by my growth and my gummy smile transformed by braces, but

also by the evolution of my accessory choices. Unchanging, nonethe-

less, was the importance I placed on this annual declaration of self in

front of the camera for the yearbook, even in my first year in school as

a kindergartener. Hair neatly combed, sporting a purple cotton scoop-

neck dress covered in bright flowers, I accessorized with a handmade

10
beaded necklace and clip-on earrings made from tiny green glass

leaves (pierced ears wouldn’t come until fourth grade).

I can safely say that this book, the third installment in the 50 Ways series,

is the most personal. It became clear to me that I was the steward, the

temporary owner, of my accessories. Many (most) of these pieces were

passed down from my mom and grandmother, or gifted from friends

or clients. These pieces came pre-loved, so to speak, and by immor-

talizing them in this book through words and pictures, I have given

them the gift of eternity, of timelessness. I made a point to include

as many of my own accessories in here as I could. You may see items

repeated (including some items featured in my past books!), because

it was important to me that I showed the hard-working versatility of my

own favorite accessories. They’re all in here—the necklace gifted from

a friend after its previous life as part of the superhero costume in a

summer camp play, the orange knit scarf I bought on an eighth-grade

French class trip to Montreal, the gold letter F brooch I unearthed in

my grandma Enid’s closet.

50 ways to wear accessories 11

What I hope this book will show you is that getting dressed can be

simple if you rely on a formula for putting on clothes. Even if you’re

wearing the same thing, such as a black dress, a few days in a row,

there is a quick magic in being able to completely transform a look

simply by switching out the accessories. Personally, I—never having

met a blazer I didn’t like—turn to a closet of jackets, button-up shirts,

and vintage tees, paired with slim jeans or high-rise skirts. Although I

am relatively obdurate about wearing unfussy black, white, gray, and

blue clothes, I’ve amassed, over the years, a set of reliable splashes, to

wit, a happy red, which appears on a purse, belts in different widths,

slip-on loafers, and sandals; a royal blue, featured on pairs of wedges,

heels, and flats; and a warm burgundy, found on numerous scarves, a

handbag, and a pair of leather boots. I also have a hard time saying no

to an animal print accessory! However you feel comfortable getting

dressed, and no matter what styles you enjoy wearing most, I encour-

age you to start paying attention to the accessories that speak to your

deepest inner visions and desires. Getting dressed becomes easy, as

everything “goes together” effortlessly for the simple, pure fact that

you adore everything you’re adorning yourself with. The advice here

12
is not necessarily to buy new things but to commit to the things you

already own and love.

Sure, maybe some of the suggestions in this book seem wacky or a

little crazy for your every day. But why not reach for the beloved objects

that would thrill to be worn on a Tuesday morning or a Saturday eve-

ning? It’s audacious yet intentional. The worst thing that could happen

is these embellishments will shine so brightly that everyone will notice.

That’s the beauty of accessories—they speak to your deepest heart’s

desire, an outer reflection of your inner beauty. So go ahead, pin a

brooch on your winter hat. Bring your evening clutch to brunch. Utilize

your accessories to outwardly express how you inwardly feel. My hope

is to inspire you to turn to your jewelry box, your pile of handbags,

your drawer of belts, and be inspired to wear these items in new ways.

Commit to their exalted place in your life and your wardrobe. Who

knows where they could take you, and whom you could meet by wear-

ing them. However you choose to wear them, wear them with feeling!

50 ways to wear accessories 13

CARING FOR YOUR ACCESSORIES

Your jewelry should be the last thing you put on and the first thing you

take off. Avoid using aerosols or lotions while wearing your jewelry.

The safest way to clean most jewelry is with warm water and gentle

soap, applied gently with a soft toothbrush. However, porous gem-

stones such as coral, turquoise, and pearls should be kept away from

all abrasive chemicals, including soap. To remove dust or debris from

your tender gemstones, wipe clean with a damp soft cloth. And most

important, avoid cleaning your jewelry near an open drain in the sink!

Use only professional lens cleaner for cleaning your glasses—household

cleaners can be abrasive to certain lens coatings. Use a designated

14
 lens wipe instead of your shirt or another

fabric, which could contain small debris

and scratch your lenses. Wash the cloth

lens wipe every few weeks; you can just

throw it in with your laundry.

When removing your glasses, take them

off with two hands so that the temples

don’t stretch unevenly. Keep away from

damaging aerosols, like hairspray and

other chemicals.

Make a practice of emptying your hand-

bag regularly (this is easier if you employ

small clutches for various items that you

can easily switch between bags). Then

wipe the inside and outside clean with

a cloth or tissue before putting it away.

You can also help extend the life of your

handbags by avoiding setting them on

floors in public spaces.

50 ways to wear accessories 15

STOR ING YOUR ACCESSORIES

Organize your accessories by color so you can find everything at a

glance. A small handbag can fit tidily inside a larger, similarly toned

bag—make sure the handles of the small bag are hanging outside the

opening of the larger bag so you don’t forget where it lives. Store bags

and other accessories away from direct sunlight and harsh chemicals.

Neat trays made from soft materials such

as felt, fabric, or leather keep your jewelry

safe from scratches and your necklaces

tangle-free. You could also hang your

necklaces from individual S-hooks to keep them from becoming a

snarled heap.

16
 Your accessories can double as décor as

long as they are safe from the glare of

harsh sunlight. For example, an earring

holder displays your favorite pieces and

makes picking a pair a breeze.

Belts can be hung from a tie hanger so you

can see and access them all effortlessly.

Keep your seasonal items, like sunglasses

or heavy scarves, within easy grabbing

distance when you’re on the go so that

you don’t forget to wear them.

50 ways to wear accessories 17

the looks
 1

THE

~ FROSTING ~
How to Wear Earrings

Like the flourish of a

whipped topping on
a delicious cake, a pair
of earrings are the sweetest
finish to whatever look you’re
trying to complete. Whether
your ears are pierced or not,
every visage deserves a final
sugary touch.

Tip: Don’t have your ears

pierced? No problem! A
pair of clip-on earrings can
be a low-commitment way
of introducing sparkle to
your look. Look for pairs
that sit comfortably on the
lobe without too much
pinching or pulling.
Earrings are the jewelry you wear closest to your face, so consider these recom-
mendations when adorning your lobes.

No matter the style, Small earrings are a while big statement

matching your earrings quiet, classic statement earrings are for when
to your eye color makes that work for plenty of you feel bold.
your whole face sing. occasions, including
day wear, conservative
workplaces, and
minimalist fancy events,

Geometric shapes add while wearing a single Or, mix it up by slipping

modern panache, earring proves that on mismatching earrings.
a little asymmetry (Many people have
can be intriguing. one ear that sits higher
than the other. Hang
your longer earring on
your higher ear for a
bit of balance amidst
the differentiation.)

50 ways to wear accessories 21

 2

THE

NORTHERN
B  LIGHTS B
How to Wear Hair Accessories

For as long as humans have

had hair, we have decorated
our domes with any number of
unique, sky-lighting accessories.
Just like the flash of the aurora
borealis through the night sky,
a hair accessory, whether stream-
lined or extravagant, is an out-
of-this-world, heavenly touch.
For a spectacular view, embellish your hair with any of these noteworthy additions.
Layer a headband Clip on a barrette (or
over a scarf. simply layer a collection
of bobby pins), angled
just above one ear.
For the most flattering
placement, clip your
barrette at the hairline
above your temple,
angled toward the highest
point of your eyebrow.
On the back of your head . . .
. . . a pretty bracelet add interest to a ponytail
can moonlight as a with a unique scrunchie,
hair accessory. After like one in faux fur,
styling your hair in a
half updo, slip bobby
pins through the ends
of each side of the
bracelet and then secure
beneath your updo . . .
50 ways to wear accessories
Get a little crafty and
glue something
interesting, such as tiny
bows, pearls, or small
figurines, to the ends of
bobby pins and disperse
throughout your updo.
or wear a brooch in your
hair, below a ballerina
bun, as pictured here,
or pinch-hitting as a
barrette embellishing a
half-up updo. Secure it
with a bobby pin inserted
below the bar pin.
23
 3

THE

= Catch of the Day =

How to Pick Out Glasses

When it comes to reeling in a

charming look for your face,
no other accessory combines
such form and function as a
pair of glasses. No matter
what kind of style pond
you like to fish from,
an appealing pair of
specs is always a good
item with which to bait
your hook.
As a general guideline, choose a style of glasses that have a different shape than
your face. For instance . . .
. . . round faces look
great in square glasses,
and oval-shaped faces
look good in any style.
while square faces Heart-shaped faces
look smashing in are lovely in cat-eye
round glasses. specs or frames that
taper at the temples,
Try on everything, use Glasses are, after all,
a handheld mirror, an accessory! If your
and check yourself budget allows, consider
out in different lights— picking out two pairs
inside and out. so that you can select
your specs according
to mood and setting.
tip: Embrace the functionality
and the bonus style points of
a glasses keeper to keep your
frames fashionably at bay.
50 ways to wear accessories 25
 4

THE

SPOTLIGHT
( KEEPER (
How to Wear Makeup
as an Accessory

Makeup doesn’t have to be a

corrective measure to cover up
supposed “flaws.” By employing
hues on your face the way you
would use a pop of color in a
handbag or belt, you’ll always
be ready for the limelight.
Here are some fun ways to use lipstick as a colorful accessory.

Consider matching Mixing two lipstick
your lip color to an shades is guaranteed to lips. For a monochromatic
element in your outfit. produce a more flattering
shade. Try it to add color
to a monochromatic outfit,
like denim on denim.
Lipstick isn’t just for the
look on your face,
swipe a flattering shade
on your lips, blend
it on your cheeks as
a blush, and apply a
small amount to the
corners of your eyelids
as a cream shadow.

And there are other fun ways to introduce color to your visage.

A colored mascara is a Or, instead of earrings,

subtle yet enticing way to
introduce a different tone
to your look. Try matching
it to a pair of earrings.
apply a glitter eye shadow
or highlighting cream
to your earlobes, which
will throw a flattering
glow onto your profile.

50 ways to wear accessories 27

Another random document with
no related content on Scribd:
 “Yes, querida.”
Hand in hand, the lovers left the adobe, and the somber echoing
tunnel, with the electric wires seen like a spider’s web across its
farther end, was to them an underground passage to Paradise.
—Copyright, and used by kind consent of the author.
Note.—Spanish words are pronounced according to the continental
pronunciation, and each vowel is given a syllable. “Si Ma-dre,” pronounced See
Ma´dray, yes, mother. “Ma-ma-ci-ta,” pronounced Ma-ma-cee-tah, little mother.
“Sin Ver-gu-en-za,” pronounced Seen Vehr-goo-ain´tha, shameless. “Que-ri-di-ta,”
pronounced Kay-ree-dee´tah, little love. “Por-ta-les,” pronounced Por-tah´lays,
covered sidewalks. “Gente decente,” pronounced Hen´tay day-then´tay, the
aristocracy. “Coch-i-no,” pronounced Co-chee´no, pig. “Lin-di-ta,” pronounced
Leen-dee´ta, pretty. “Que-ri-da,” pronounced Kay-ree´da, beloved.

THE INTERVENTION OF PETER

By Paul Laurence Dunbar
No one knows just what statement it was of Harrison Randolph’s
that Bob Lee doubted. The annals of these two Virginia families have
not told us that. But these are the facts:
It was at the home of the Fairfaxes that a few of the sons of the old
Dominion were giving a dinner, and a brave dinner it was. The
courses had come and gone, and over their cigars they had waxed
more than merry. In those days men drank deep, and these men
were young, full of the warm blood of the South and the joy of living.
What wonder then that the liquor that had been mellowing in the
Fairfax cellars since the boyhood of their revolutionary ancestor
should have its effect upon them?
It is true that it was only a slight thing which Bob Lee affected to
disbelieve, and that his tone was jocosely bantering rather than
impertinent. But sometimes Virginia heads are not less hot than
Virginia hearts. The two young men belonged to families that had
intermarried. They rode together, hunted together and were friends
as far as two men could be who had read the message of love in the
dark eyes of the same woman. So perhaps there was some thought
of the long-contested hand of Miss Sallie Ford in Harrison
Randolph’s mind when he chose to believe that his honor had been
assailed.
His dignity was admirable. There was no scene to speak of. It was
all very genteel.
“Mr. Lee,” he said, “had chosen to doubt his word, which to a
gentleman was a final insult. But he felt sure that Mr. Lee would not
refuse to accord him a gentleman’s satisfaction.” And the other’s
face had waxed warm and red and his voice cold as he replied: “I
shall be most happy to give you the satisfaction you demand.”
Here friends interposed and attempted to pacify the two. But
without avail.
Each of the young men nodded to a friend and rose to depart. The
joyous dinner-party bade fair to end with much more serious
business.

“You shall hear from me very shortly,” said Randolph, as he strode

to the door.
“I shall await your pleasure with impatience, sir, and give you such
a reply as even you cannot disdain.”
Peter, the personal attendant of Harrison Randolph, stood at the
door as his master passed out, and went on before him to hold his
stirrup. The young master and his friend and cousin, Dale, started off
briskly and in silence, while Pete, with wide eyes and disturbed face,
followed on behind. Just as they were turning into the avenue of
elms that led to their own house, Randolph wheeled his horse and
came riding back to his servant.
“Pete,” said he sternly, “what do you know?”
“Nuffin’, Mas’ Ha’ison, nuffin’ ’t all. I do’ know nuffin’.”
“I don’t believe you.” The young master’s eyes were shining
through the dusk. “You’re always slipping around spying on me.”
 “Now, dah you goes, Mas’ Randolph. I ain’t done a thing, and you
got to ’mence pickin’ on me—”
“I just want you to remember that my business is mine.”
“Well, I knows dat.”
“And if you do know anything, it will be well for you to begin
forgetting it right now. Take Bess around and see her attended to.
Leave Dale’s horse here, and—I won’t want you any more to-night.”
Pete turned away with an injured expression on his dark face.
“Bess,” he said to the spirited black mare, as he led her toward the
stables, “you jes’ better t’ank yo’ Makah dat you ain’t no human
bein’, ’ca’se human bein’s is cur’ous articles. Now you’s a horse,
ain’t you? And dey say you ain’t got no soul, but you got sense,
Bess, you got sense. You’s a high steppah, too, but you don’ go to
work an’ try to brek yo’ naik de fus’ chanst you git. Bess, I ’spect you
’ca’se you got jedgment, an’ you don’ have to have a black man
runnin’ aftah you all de time plannin’ his head off jes’ to keep you out
o’ trouble. Some folks dat’s human bein’s does. Yet an’ still, Bess,
you ain’t nuffin’ but a dumb beas’, so dey says. Now, what I gwine to
do? Co’se dey wants to fight. But whah an’ when an’ how I gwine to
stop hit? Doan want me to wait on him to-night, huh! No, dey want to
mek dey plans an’ do’ want me ’roun’ to hyeah, dat’s what’s de
mattah. Well, I lay I’ll hyeah somep’n’ anyhow.”
Peter hurried through his work and took himself up to the big
house and straight to his master’s room. He heard voices within, but
though he took many liberties with his owner, eavesdropping was not
one of them. It proved too dangerous. So, though he lingered on the
mat, it was not for long, and he unceremoniously pushed the door
open and walked in. With a great show of haste, he made for his
master’s wardrobe and began busily searching among the articles
therein. Harrison Randolph and his cousin were in the room, and
their conversation, which had been animated, suddenly ceased
when Peter entered.
“I thought I told you I didn’t want you any more to-night.”
 “I’s a-lookin’ fu’ dem striped pants o’ yo’n. I want to tek ’m out an’
bresh ’em; dey’s pintly a livin’ sight.”
“You get out o’ here.”
“But, Mas’ Ha’ison, now—now—look-a-hyeah—”
“Get out, I tell you.”
Pete shuffled from the room, mumbling as he went: “Dah now, dah
now! driv’ out lak’ a dog! How’s I gwine to fin’ out anyt’ing dis way? It
do ’pear lak Mas’ Ha’ison do try to give me all de trouble he know
how. Now he plannin’ and prijickin’ wif dat cousin Dale an’ one jes’
ez scattah-brained ez de othah. Well, I ’low I got to beat dis time
somehow er ruther.”
He was still lingering hopeless and worried about the house when
he saw young Dale Randolph come out, mount his horse, and ride
away. After a while his young master also came out and walked up
and down in the soft evening air. The rest of the family were seated
about on the broad piazza.
“I wonder what is the matter with Harrison to-night,” said the young
man’s father, “he seems so preoccupied.”
“Thinking of Sallie Ford, I reckon,” some one replied; and the
remark passed with a laugh. Pete was near enough to catch this, but
he did not stop to set them right in their conjectures. He slipped into
the house.
It was less than two hours after this when Dale Randolph returned
and went immediately to his cousin’s room, where Harrison followed
him.
“Well?” said the latter, as soon as the door closed behind them.
“It’s all arranged, and he’s anxious to hurry it through for fear some
one may interfere. Pistols, and to-morrow morning at daybreak.”
“And the place?”
“The little stretch of woods that borders Ford’s Creek. I say,
Harrison, it isn’t too late to stop this thing yet. It’s a shame for you
two fellows to fight. You’re both too decent to be killed yet.”
 “He insulted me.”
“Without intention, every one believes.”
“Then let him apologize.”
“As well ask the devil to take Communion.”
“We’ll fight then.”
“All right. If you must fight you must. But you’d better go to bed, for
you’ll need a strong arm and a steady hand to-morrow.”
“I’m going to write a couple of letters first,” he said; “then I shall lie
down for an hour or so. And, by the way, Dale, if I—if it happens to
be me to-morrow, you take Pete; he’s a good fellow.”
The cousins clasped hands in silence and passed out. As the door
closed behind them a dusky form rolled out from under the bed and
the disreputable, eavesdropping, backsliding Peter stood up and
rubbed a sleeve across his eyes.
“It ain’t me dat’s gwine to be give to nobody else. I hates to do it;
but dey ain’t no othah way. Mas’ Ha’ison cain’t be spaihed.” He
glided out mysteriously, some plan of salvation working in his black
head.

Just before daybreak next morning three stealthy figures crept out
and made their way toward Ford’s Creek. One skulked behind the
other two, dogging their steps and taking advantage of the darkness
to keep very near to them. At the grim trysting-place they halted and
were soon joined by other stealthy figures, and together they sat
down to wait for the daylight. The seconds conferred for a few
minutes. The ground was paced off, and a few, low-pitched orders
prepared the young men for business.
“I will count three, gentlemen,” said Lieutenant Custis. “At three,
you are to fire.”
At last daylight came, gray and timid at first, and then red and bold
as the sun came clearly up. The pistols were examined and the men
placed face to face.
 “Are you ready, gentlemen?”
But evidently Harrison Randolph was not. He was paying no
attention to the seconds. His eyes were fixed on an object behind his
opponent’s back. His attitude relaxed and his mouth began to twitch.
Then he burst into a peal of laughter.
“Pete,” he roared, “drop that and come out from there!” and away
he went into another convulsion of mirth. The others turned just in
time to see Pete cease his frantic grimaces of secrecy at his master,
and sheepishly lower an ancient fowling-piece which he had had
leveled at Bob Lee.
“What were you going to do with that gun leveled at me?” asked
Lee, his own face twitching.
“I was gwine to fiah jes’ befo’ dey said free. I wa’n’t gwine to kill
you, Mas’ Bob. I was on’y gwine to lame you.”
Another peal of laughter from the whole crowd followed this
condescending statement.
“You unconscionable scoundrel, you! If I was your master, I’d give
you a hundred lashes.”
“Pete,” said his master, “don’t you know that it is dishonorable to
shoot a man from behind? You see you haven’t in you the making of
a gentleman.”
“I do’ know nuffin’ ’bout mekin’ a gent’man, but I does know how to
save one dat’s already made.”
The prime object of the meeting had been entirely forgotten. They
gathered around Pete and examined the weapon.
“Gentlemen,” said Randolph, “we have been saved by a miracle.
This old gun, as well as I can remember and count, has been loaded
for the past twenty-five years, and if Pete had tried to fire it, it would
have torn up all this part of the country.”
Then the eyes of the two combatants met. There was something
irresistibly funny in the whole situation, and they found themselves
roaring again. Then, with one impulse, they shook hands without a
word.
And Pete led the way home, the willing butt of a volume of good-
natured abuse.—From “Folks from Dixie,” copyright by Dodd, Mead
& Company, New York, and used by arrangement.
 PART THREE
Melodious Reading
Conversational elements: Pitch, Inflection, Color, Stress, Pause,
Movement, Time. Separate discussions and illustrations with number
of exercises for the pupil to practice. Melody in verse and in prose.

EXPRESSIVE SPEECH[9]
By Robert Lloyd

’Tis not enough the voice be sound and clear,

’Tis modulation that must charm the ear.
When desperate heroines grieve with tedious moan,
And whine their sorrows in a see-saw tone,
The same soft sounds of unimpassioned woes
Can only make the yawning hearer doze.

That voice all modes of passion can express

Which marks the proper word with proper stress;
But none emphatic can the reader call
Who lays an equal emphasis on all.
...
He who in earnest studies o’er his part
Will find true nature cling about his heart.
The modes of grief are not included all
In the white handkerchief and mournful drawl.
A single look more marks the internal woe
Than all the windings of the lengthened O!
Up to the face the quick sensation flies,
And darts its meaning from the speaking eyes.
Love, transport, madness, anger, scorn, despair,
And all the passions, all the soul is there.
 CHAPTER X
MELODIOUS READING

What charm and delight surround a sweet, melodious voice,

whether of woman or man. Who is there that does not recall such a
voice and its influence upon him? Who does not have clinging
memories of the voice of the mother, crooning over her babe, or
singing a sweet lullaby as it lay at her breast; of a father, softening its
strong and resonant power to soothe the restlessness of his little one
who was sick; of the blushing maiden, who consciously or
unconsciously had learned the immeasurably greater power
exercised over her fellows, whether of her own or the opposite sex,
by a soft, pure, well-controlled voice, rather than the high-pitched,
tense, loud and harsh chatter of her associates. The calm, quiet, soft
and low-pitched, though firm, voice of the teacher, the parent, the
employer, the salesman, the speaker, the statesman, is far more
effective, far more likely to attain its end than the harsh, raucous,
loud, too emphatic and high-pitched voice of the uncontrolled,
untaught, or careless speaker. And to listen to a reader, be he
preacher, lawyer, judge, or orator, reading in public to a large
audience, or for the pleasure and instruction of his own loved ones,
or a few chosen friends, whose voice is melodious in every cadence,
whose every intonation is musical and in good taste, what joy such a
reader is able to bestow. How memory thrills as we recall a few
readers of this type. Why should they be so few? Why should there
be so many harsh, nasal, raucous, high-pitched, unmelodious
voices? The reason is found mainly in lack of training, lack of a little
thought, indifference to the possession of the finer gifts of life. For
every boy and girl has it in his or her power, by the exercise of a little
care, a little thought, a little self-restraint, a little time spent in
discipline to produce the sweet and charming voice, with clean-cut,
distinct, pleasing enunciation and pronunciation that will afford joy
during the whole of a long life.
 One’s own ear will tell whether his voice is properly pitched,
pleasing, melodious, or the opposite. A few minutes spent in speech
daily before a looking-glass will forever fix the habit of making the
face pleasing; and an hour a day for a month will fix perfect habits of
pronunciation and enunciation that will remain through life. When
these arts are fixed, then a few hours’ study of the thought of the
author and the inflections and modulations of the voice necessary to
represent, to convey to the ear of the listener, the full power of that
thought, and the reader has equipped himself, herself, to give joy to
countless thousands. Is it not worth while to spend a few hours to
gain such power?

Exercises in Inflection
By inflection is meant the glide of the voice within a word to a
higher or a lower pitch. This glide may be quick and short, or long
and slow. It may be a rising or a falling glide, or both. The value of
inflection rests in its power to make what is said more emphatic, to
aid in clear enunciation, to aid in overcoming monotony. On all
emphasized words we have an intensified inflection. This is
illustrated in Portia’s speech in “The Merchant of Venice.” In studying
this excerpt we discover that all the emphasized words have a
pronounced inflection. In the first group of words, “If to do were as
easy as to know what were good to do,” we find the most intensified
inflection is upon the word “know” because this is the most emphatic
word of the group. This reveals that inflection is one of the most vital
means of emphasis.
In regard to inflection as an aid to clear enunciation, we find that
inflection occurs upon the accented syllable of a long word, and if
due attention is given to the syllable upon which the accent falls, the
word will receive a more perfect utterance. For instance, we can
readily see in the following words, which are often mispronounced,
the important part that inflection plays in the proper pronunciation of
them:

abdomen
abject
acclimate
address
admirable
alias
brigand
caricature
chastisement
chauffeur
combatant
contumely
demoniacal
discourse
exquisite
finance
grimace
herculean
horizon
impious
impotent
incomparable
indisputable
industry
inexplicable
interpolate
inquiry
 lyceum
mausoleum
mischievous
obligatory
research
resource
superfluous
traverse
vagary
vehement
vehicle
virago
verbose
virtue
virtually

(For the correct pronunciations see Webster’s New International

Dictionary.)
We readily see that the proper use of inflection cannot help but
give variety and contrast to our speech, and this aids immeasurably
in overcoming the persistent use of monotones.
We shall take up the different kinds of inflection and illustrate them
with appropriate exercises. The student should consider the aim and
value of each kind of inflection and then proceed to practice orally
the exercises, listening intently to his voice to see that it responds.

Kinds of Inflection
Falling Glide in the voice indicates a complete and positive
assertion. For example:
 “The Prince’s banner wavered, staggered backward,
hemmed by foes!”

A command, although punctuated with a question mark, is

rendered with a falling glide in the voice. For example:

“Halt! who goes there?” “Speak, what trade art thou?”

Rising Glide in the voice indicates incompleteness and doubt. For

example:

“How ‘the fellow by the name of Rowan’ took the letter,

sealed it up in an oilskin pouch, strapped it over his heart, in
four days landed by night off the coast of Cuba from an open
boat, disappeared into the jungle, and in three weeks came
out on the other side of the island, having traversed a hostile
country on foot, and delivered his letter to Garcia, are things I
have no special desire now to tell in detail.”

Circumflex Glide indicates a twist in the voice which reflects a like

twist in the mind.

Well, I guess I’ll have to, since you say so.

Exercises for Inflectional Agility:

I find earth not gray but rosy, heaven not grim but fair of hue.
Do I stoop? I pluck a posy. Do I stand and stare? All’s blue.

—Browning.

I must have left my book on this table last night. (Read two ways.)
 There are three pleasures pure and lasting, and all derived from
inanimate things—books, pictures, and the face of nature.
—Hazlitt.

We are perplexed, but not in despair; persecuted, but not

forsaken; cast down, but not destroyed.

What right have you, O passer by the way, to call any flower a
weed? Do you know its merits? Its virtues? Its healing qualities?
Because a thing is common, shall you despise it? If so, you might
despise the sunshine for the same reason.

Oh, yes, I begin to remember you now. Do you really think it true?

Yes, he’s a millionaire. (Read two ways.)

Breathes there a man, with soul so dead,

Who never to himself hath said,
This is my own, my native land?
Whose heart hath ne’er within him burn’d,
As home his footsteps he hath turn’d
From wandering on a foreign strand?
If such there breathe, go, mark him well.

—Sir Walter Scott.

Now clear, pure, hard, bright, and one by one, like the hailstones,
Short words fall from his lips fast as the first of a shower,
Now in two-fold column: Spondæ, Iamb, Trochee,
Unbroken, firm-set, advance, retreat, trampling along,—
Now with a sprightlier springiness, bounding in triplicate syllables,
Dance the elastic Dactylics in musical cadences on;
Now their voluminous coil intertangling like huge anacondas,
Roll overwhelmingly onward the sesquipedalian words.

—Browning.

Resolve!
To keep my health!
To do my work!
To live!
To see to it that I grow and gain and give!
Never to look behind me for an hour!
To wait in weakness and to walk in power;
But always fronting onward to the light.
Always and always facing toward the right.
Robbed, starved, defeated, wide astray—
On, with what strength I have!
Back to the way!

A very interesting and helpful exercise in the study of inflection is

the use of the one-word dialogue. The following scene, written by a
pupil, is given as an illustration:

Scene: Midnight; and the two are awakened by a noise.

She. Philipe!
He. What?
She. Burglar!
He. Where?
She. Bathroom!
He. Gun?
She. No!
He. Sh-h!
She (fainting). Darling!
He. Huh! Cat! (catching her).
 It is by use of tone and inflection that the following exercises are
properly rendered.

How are you to-day? Ha. (inquiry, surprise).

I say how are you to-day? Ha. (rising doubt).
Have you suddenly become deaf? Ha. (indignation).
I have been trying to find out how you are Ha. (satisfaction,
to-day. laugh).
I am glad you heard me. Ha. (short grunt).
I am on my way to the store. Ha. (do not believe it).
Will you go with me? Ha. (glad to).

A Study of Pitch
Pitch is simply the modulation of the voice as high or low. In
natural speech we seldom have more than one word on the same
pitch. Note the constant change of pitch in a good conversationalist.
In listening to such, we discover what?
First: If one idea is expressed on one pitch, its antithesis is
instinctively expressed on another pitch. For example: “When our
vices leave us, we flatter ourselves we leave them.” “The prodigal
robs his heir, the miser robs himself.” “Excess of ceremony shows
want of breeding.”
Second: A quick leap of the mind causes a leap in the voice, or, in
other words, it causes a change of pitch. For example: “So you say
you are going to—Well, hello, John! How did you get here?”
There can be no definite rules laid down governing Changes of
Pitch. If we think progressively, giving ourselves completely to each
successive idea, permitting our movement of tone to be the direct
outcome of the action of the mind we shall have no difficulty in
modulating our pitch.
In reading the following selections, note carefully the natural
tendency of the voice to change pitch as the mind leaps from one
thought to another.
O larks, sing out to the thrushes,
And thrushes, sing to the sky!
Sing from your nests in the bushes,
And sing wherever you fly.

Then sing, O bird in the tree,

Then sing, skylark in the blue,
Sing loud, sing clear, that the King may hear,
And my soul shall sing with you.

I wield the flail of the lashing hail,

And whiten the green plains under:
And then again I dissolve in rain,
And laugh as I pass in thunder.

I slip, I slide, I gloom, I glance.

Away to the hills, to the caves, to the rocks,—

Ere I own a usurper, I’ll couch with the fox;
And tremble, false whigs, in the midst of your glee,
You have not seen the last of my bonnet and me.

If to do were as easy as to know what were good to do, chapels

had been churches, and poor men’s cottages princes’ palaces. It is a
good divine that follows his own instructions. I can easier teach
twenty what were good to be done, than be one of the twenty to
follow mine own teaching. The brain may devise laws for the blood;
but a hot temper leaps over a cold decree: such a hare is madness,
the youth, to skip o’er the meshes of good counsel, the cripple.
—“Merchant of Venice.”
 Extremely high: Half a league, half a league, half a league onward!
Very high: Hats off! along the street they come! The flag is passing
by.
High: Sail on, sail on, O ship of state!
Rather high: Now’s the day and now’s the hour!
Middle: In spite of rock and tempest roar.
Rather low: No stir in the air, no stir in the sea.
Low:

Sunset and evening star

And one clear call for me.

Very low: Quoth the raven, “Never more.”

Low as possible: O death, where is thy sting!

Study in Stress
If we read or speak aloud naturally and earnestly, there occurs in
our voice a succession of beats or pulsations. If these pulsations
occur at regular intervals, our speech will be “singsong” and
monotonous. Thus:

a
I wandered lonely cloud
as

and
That floats on high o’er hills,
vales

a
When all at once I crowd
saw
 o
A host of golden dills.
daff

The fault is that we are responding to the rhythm of the line

instead of the rhythm of the thought. There should be rhythmic action
of the voice, but, at all times, it should be in perfect harmony with the
rhythmic action of the mind. Therefore, we see again that correct
reading depends upon getting the correct thought.
It is very important that we have control of our voice in stress or
force of utterance. If a teacher requires one pupil out of a class of
twenty to go on an errand for him, there is but one way of clearly
expressing that thought in the following sentence: Thus:

Will you please return this book to the library?

If we make prominent any other word than “you,” we shall not be

clear as to who shall return the book. Read the above sentence in as
many ways as there are different meanings.
Practice reading aloud the following with especial attention to
stress. Be sure that the action of the voice corresponds to the action
of the mind. Stress is indicated by italics.

Rouse, ye Romans! Rouse, ye slaves!

Worcester, get thee gone, for I do see

Danger and disobedience in thine eyes.
You have good leave to leave us; when we need
Your use and counsel, we shall send for you.

—Shakespeare.
Abraham Lincoln used scripture quotations very frequently and
powerfully.