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be so distinctly marked that the attention would be at once attracted to the different styles, and the meaning understood. (desc.) And hark! the deep voices replying
From the graves where your fathers are lying. (per.) “Swear, Oh! swear." (per.) “ Have you forgotten, General," the battered soldier cried
“The days of eighteen hundred twelve, when I was at your side. Have you forgotten Johnson, that fought at Lundy's Lane;
It's true I'm old and pensioned, but I want to fight again.” The voice of old age, “piping and whistling in its sound,” is easily given if the practice upon the elements has been thorough; even ventriloquism, or ventriloquial power may be acquired by the practice of personation; change of pitch; exploding of elements, etc. The exercise on the elements for this purpose, is what Prof. Bronson calls “swallowing the elements."
And then began the sailors jests:
A long-shore meeting-house adrift
(desc.) We reached the deck. There Randall stood;
And waved his cap in sport;
Go through an open port.” (nar.) I remember once, riding from Buffalo to Niagara Falls, and I said
to a gentleman : " What river is that sir?"
“What is it ?" (A different voice.)
We have heard of the rapids, but we
The selection from which this extract is taken is excellent for the practice of transition and personation, and any one who has heard Mr. Gough, will acknowledge the power of this principle.
In reading a colloquy between two or more persons, recognize the fact that the faces of the speakers must be turned towards each other; and as you change from the utterances of one to the other, turn the face slightly or boldly, as the character of the colloquy may indicate.
These exercises in personation are so frequent in the selections, that further examples do not seem necessary.
THE STUDY OF EXPRESSION.
The practice of reading or reciting aloud, selections containing different emotions and passions, secures variety of expression. The student should try to personate the passion, or enter so fully into the meaning of the quotation that he will vary the pitch, force, and voice to correspond with the emotion.
The following extracts from Shakespeare and Milton are so forcible and natural, that the student may succeed in giving them well by practice, without the assistance of the living model.
The organs of speech should be so disciplined as to adapt themselves naturally and easily to all the changes, even the most abrupt and frequent, that are required in continuous reading or speaking. This comprehends the particulars in the above analysis and secures variety of expression, which is the great object to be gained by the student of elocution.
LAUGHTER ON SEEING A BUFFOON.
A Fool, a Fool! I met a Fool i' th' forest,
motley Fool. A miserable world!
'Tis but an hour ago since it was nine,
INVOCATION OF TIIE GODDESS OF MIRTI.
But come, thou goddess fair and free,
Ah, Juliet! if the measure of thy joy
JOY APPROACHING TO TRANSPORT,
Oh! joy, thou welcome stranger, twice three years
JOY APPROACHING TO FOLLY.
Come, let us to the castle.--
JOY BORDERING ON SORROW.
0, my soul's joy!
Succeeds in unknown fate.--- Othello.
DELIGHT ON VIEWING A STATUE.
Leon.-See, my lord,
Paul. My lord's almost so far transported that He'll think anon it lives.
Leon. () sweet Paulina,
DELIGHT IN LOVE
What you do
PROTESTATION IN LOVE.
O, hear me breathe my life
PITY FOR A DEPARTED FRIEND.
Alas, poor Yorick ! -I knew him, Horatio : a fellow of infinite jest, of most excellent fancy: He hath borne me on his back a thousand times. And now, how abhorred my imagination is ! my gorge rises at it: Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment, that were wont to set the table on a roar ? Not one now, to mock your own grinning ? Quite chop-fallen? Now, get you to my lady's chamber, and tell her, let her paint an inch thick, to this favor she must come; make her laugh at that.-- Hamlet.
HATRED CURSING THE OBJECT HATED.
Poison be their drink!
Gall, worse than gall, the daintiest that they taste !