tion; but as, in many instances, I have very considerably changed their phraseology to adapt them to my meaning, I have omitted entirely the usual punctuative marks, which, if used, would be variously scattered throughout, as well as placed at the sides of the pages, and thus tend to disfigure their typographical appearance. I have borrowed incidentally another's vehicle, making the necessary alterations, to transmit my own impressions at a smaller sacrifice of time than by contriving a means altogether original. If the critic chooses, however, to be captious and illiberal with such an arrangement he may be so at his pleasure. With the more indulgent of mankind I sincerely hope my intentions will justify the course I have pursued. I have drawn from numerous sources, but my chief inspiraration is due to a thorough, laborious study of "The Philosophy" of Dr. Rush. Many of the illustrations, though in a form of my own, are from the above-mentioned work. In the practical part of this system I have so enlarged upon the elements, and mechanized the examples, that many will doubtless pass a hasty judgment upon its efficacy. My own observation and daily experience satisfies me, however, that the art of elocution can be successfully taught only in some such manner as I herein suggest. I also feel satisfied that a CAREFUL STUDY and TRIAL of this system, not a MERE PERUSAL, will induce others to believe as I do. Speaking is an ART; and in ONE sense ALL arts are mechanical. They have all SEEMINGLY arbitrary principles, or laws. Music, Painting, and Sculpture, have an infinitude of details; and there is no reason whatever why Elocution should be exempt from some such similar restraints, or limits, which do not ENFEEBLE art by this necessary restriction, but GUIDE and IMPEL it in the proper direction only to INCREASE its NATURAL tendencies. In this method I have simply done what the conjoined experiments of voice, ear, and eye, have suggested to be the BEST means of showing OTHERS HOW to practice by analysis, instead of relying on mere impulse and INSTINCTIVE unguided effort. To be sure, I have multiplied the combinations of principles in a great variety of ways, but if the student will remember that there are but FIVE great leading principles, and the object is to DEVELOPE them more successfully, he will not become alarmed at the abundance of means before him. These FIVE principles, as enumerated by Dr. Rush, embrace EVERYTHING. They are as follows:-QUALITY, which includes the NATURAL, the FALSETTE, the WHISPERING, and the OROTUND VOICES; FORCE, which comprehends the different stresses &c.; QUANTITY, which refers to the TIME of syllables and PAUSES in discourse; ABRUPTNESS, the STACCATO of speech, which differs essentially from slow or rapid time; and PITCH, to which belong the SKIPS, SLIDES, and WAVES, of whole tones and semitones. The great trouble of studying Elocution without the living teacher arises, principally, from the novitiate MISTAKING COMBINATIONS and the higher graces for the PRINCIPLES THEMSELVES, and thus becoming disheartened at the SEEMING amount of work before him. If properly pursued, Elocution becomes one of the most delightful of studies, and it is hoped that these pages may tend to prove it such. The selections for reading and speaking, in the latter part of this Manual, were chosen, in most instances, because less frequently found in works of this kind. The author has only taken such old pieces, for practice with pupils, as he deemed necessary, and then endeavored, as far as possible, to add new material, of a humorous as well as serious style, hoping thereby to suit a variety of tastes. How far he has succeeded in this attempt he leaves others to judge. The diagram on page 88, was executed by one of the ladies of the Engraving Class of the Cooper Union. In conclusion, the author would most heartily acknowledge the very valuable assistance of Mr. D. F. DIMON, Elocutionist, of this city. NEW YORK, Jan. 1st, 1867. J. E. F. CONTENTS. PAGE. CULTURE OF THE VOICE.-Public Speaking.-The Throat and Lungs how used.--Irritation of the Throat.-Energizing the Voice.- Healthy Lungs and Loud Speaking.-Voice for Dis- tance.—Clear, Sonorous Sounds.—Capacity of the Lungs.— Retentive Breath.-Increase of Volume and Power....... THE SILENT PRACTICE.-Inward Mental and Outward Physical Force.-Subdued Vocality.-Intense Will.-Vehement Ges- ticulation.-Pacing the Room.-To prevent straining.......... 21 EXPRESSION.-Reality and Sensibility.-Earnest Orators, Delicate Declaimers.-Simplicity.-The Two Extremes.-Commisera- tion.-Artlessness in Vehemence.-Rapid Speech.-The READING. Dramatic, Theatrical.-Far-Fetched Expression.- Familiar Conversation.-Defects and Excellencies.-The Voice in Public.-Another's Opinion.-Reasoning out the Language.-The Ruling Passion; Prevailing Sentiment..... 29 PERSONATION.-Changing the Voice.-The Face and Chest.-An- alysis of Characters.-Peculiarities of Expression.-Two or more persons.-Humorous styles.-Garrick, Webster, Clay. -The Most Successful.-To be a Well-Balanced Orator...... ACTION.-Awkward Attitudes.-Retention of Expression, Atti- tude and Action.-The Graces of Gesture.-The Habits of THE PASSIONS.-Developed and Trained.-To Counteract Exag- geration. The Greatest Effects.-Servilely Copying.-The Eloquence of a look.-Highly Intensive States.-Imitation. THE GREAT MASTERS.-The Great Orators and Actors.-The Stage.-Mrs. Siddons.-Edmund Kean.-The Elder Booth... 45 HABITS OF THE ORATOR.-Smoking and Chewing.—The Food.- Speaking after Eating.-The Teeth.-The Clothing.-The Muscles of the Throat.--Clergymen.-Things to Improve the Voice.—Hoarseness.—Nostrums.-Drinking Water............ 48 ESPECIALLY FOR STUDENTS.-Going on to the Stage.-Bowing.- The Correct Way.-Commencing.-Reading an Essay.- Reasons for Gestures.-The Method of Study.-After an Oration is Committed.-Prompting, on Public Occasions..... GENERAL DIRECTIONS.-Beginning.-Feeling at Ease.—The Way to Acquire Assurance.-The Manner of Looking at an Audi- ence.-Changing position.-A Listening Audience.-Uncon- SHORT HINTS.-Reading and Feeling.-Declaiming and Talking. -Force and Rant.-Suppressed Power.-Concentration.— Beauties of Delivery......................... PRACTICAL ELOCUTION.-BREATHING.-Inner Lining and Muscles of the Throat.-Method of Breathing. -Dizziness.—Time Occupied in Breathing.-Expansion of the Lungs.-Elas- ticity of the Chest.-Breathing Through the Nostrils.— |