And only left the name behind;

Dыl. H.F.

Gold sowed the world with ev'ry ill;

Dbl. H.L.

Gold taught the murd❜rer's sword to kill;

Hand raised to strike. Dbl. D.O. Prone.

I. Conversation.-This is the simplest form of speech, and it is the most natural. In conversation we are ourselves, and we use no forced, unnatural style of utterance. Without previous study we speak those words that come most readily to the lips. It has been truly said that if we wish to know what we are, we have only to look at our speech and behold ourselves.

Let us always endeavor in conversation to express (1) the best thoughts (2) in our best manner, (3) avoiding those subjects not of general interest to our listeners, (4) using the best language at command, and thereby elevating our thought and our expression.

II. Reading. In conversation, our ideas are evolved from our own minds, clothed in our own words, and given forth in our own manner. In reading, the thought may be the same and the manner the same, though the phraseology may differ. This difference of words, however, may be overcome by familiarizing ourselves with the pro

duction. But, in reading our own composition, we are too liable to fall into a reading tone—an unnatural mode of expression. This droning process causes the hearer to lose a large portion of the thought, which he would receive were the reading intelligent instead of mechanical. In emotional reading, he receives all the thought, and it is intensified in its conveyance to him. Emotional reading might be compared to the refraction of light through a lens; it is concentrated and rendered powerful. Mechanical reading may be compared to light reflected from a mirror; a large percentage of it is lost in the process of reflection.

Remember that the only office of the printed or written page in reading is to furnish you with the thought that you are to convey to others. Let your mind receive this; then express it, idea by idea (not word by word), in the same manner that you would if it were original with you.

When you desire to read well, be sure to previously familiarize yourself with (a) the words, (b) arrangement of paragraphs, and (c) logical connection of all the thoughts contained in the piece of reading.

Always hold your book or paper in such a way that you can readily take in the whole line at once. Allow the letters to be about fourteen inches from the eye, not directly below, nor horizontal with the eye, but half-way between these two positions.

Look off the book as much as possible.

III. Public Speaking.-This is conversation magnified. The same forms of voice are employed as in conversation; the difference lies in a symmetrical enlargement of the sentences. In this, do not distort, but preserve the form in its simplicity, and you will have it in its greatest purity and power. (See illustrations of Quality on page 85). Apply all rules of elocution and rhetoric to your conversation, and you will have the form best suited to public address.

Always make a marked distinction between the conversational (or explanatory) and the oratorical or dramatic portions. Studiously avoid everything like an oratorical style in simple description or narration.

Never appear in public without thorough preparation,

and be sure that this is succeeded by a period of rest, that you may be in your best condition. Tone the voice just before beginning your vocal effort.

In your approach, do not appear hurried; but let your manner be graceful, and your bearing dignified. This will insure respect. Put yourself at your ease by a strong mental effort, and begin deliberately, gradually warming up with your subject.

Never acquire the useless habit of drinking water during a vocal performance. As soon think of pausing in an address to eat as to drink; there is as much propriety in one as in the other. Water will not supply the natural moisture of the vocal organs, and, if they are properly used, there is no necessity for artificial moistening.

Pay special attention to the articulation, and let it always be distinct. Deliver the sounds sharply and correctly, and your audience will appreciate your efforts, though they may not themselves know wherein lies the charm of the voice to which they listen.

APPLICATIONS.

As shown in the foregoing pages, the principles and rules of elocution find a practical application in everyday life. Every sentence we utter, every word we speak, every tone of the voice, and every gesture, is but the natural outgrowth of the principles of the science and its application to the true art of expression. These principles and rules, when understood, may be intelligently applied to all forms of conversation, of reading, and of public speaking. This, while including in its scope every rational human being, embraces many professions as a whole, of which may be cited as examples the following: Actors, teachers, lawyers, ministers, lecturers, etc. majority of these require nothing in this line farther than a general knowledge of elocution as here presented, while others demand a slight modification of these rules, in the form of a special application, as is noticeably the case with the actor, who requires a system of elocution materially different from that of the orator, though both systems are based on common principles and employ similar rules.

The

We will make but two applications in the scope of this work-Dramatic Action and

Pulpit Elocution.-The pulpit affords the broadest, freest exercise of the powers of the orator. In no other position has a man so wide a range for the use of his oratorical talent. Every branch of knowledge is an avenue through which he may wend his way, explaining the beauties and mysteries of the pathway to the multitudes that follow. The world is his field; the whole arcana of knowledge is waiting to furnish the materials with which he may sway the masses. Taking "all knowledge" for his "province," and laboring zealously in the great field of human progress, his power is limited only by the compass of his own humanity. His mission is a noble one— his object, to save the world.

The instrument by which he hopes to achieve good is the human voice. This he should so cultivate and train that it performs its duty perfectly, else it will prove a hindrance instead of an assistant. His manner, too, can aid or detract from his efforts, and it is of the utmost importance that he understand all the laws of gesture.

In short, he should have so good a knowledge of every branch of the art that he may be a perfect master of all his powers; that every thought shall be sent ome with its full force; that every intonation of his voice shall be rich with meaning; that every gesture shall add to the convincing power of his argument, to the beauty of his description, the clearness of his narration, and the irresistible force of his logic.

That this may be the case, it is absolutely necessary (1) that he have no unpleasant peculiarity of manner nor of pronounciation; (2) that he possess a dignity befitting his station, and that this be not lowered by jocular or commonplace remarks while in the pulpit; (3) that his voice and manner harmonize one with the other; (4) that he never betray a lack of self-mastery by allowing his voice to get beyond control, or by using such gestures as stamping with the foot or striking the desk with the closed. hand. These are noises, not oratory-sound, not sense.

He will succeed best in his work who takes his position. midway between inaction and dramatic action. He should

not gesticulate too much nor too little; but, above all else, he should see that nothing in his verbiage, tone, enunciation or gesture shall divert the attention of his audience from the sacredness of the subject and the occasion. He, of all men, should be a good, expressive reader, able to present the Scriptures in a manner worthy of their dignity, and to read the hymns with intelligence and force. (See Bible Reading, page 97.)

A heavy, full, round tone of power carries with it a degree of conviction that no finely-rounded period of rhetorical argument ever possessed.

In conclusion, he should endeavor by all possible means to prove himself a man, that his words may receive character from his daily example; and, specially, let him study his style of delivery, for thereon depends more of success or failure than he is aware.

DRAMATIC ACTION.

His

Dramatic action differs from oratory, though it employs the same vocal expression. The orator is always himself, in his best condition; the actor acts an assumed character, which would often not be consistent with the dignity of the orator. The actor is an imitator-an impersonator, and he may make sentiment subordinate to action. office is to entertain rather than to instruct. He must study to sustain the character which he has assumed, and, in order to successfully accomplish this, it is necessary to lay aside as far as possible his individuality, and to assume as completely as possible the personality of another. He, unlike the orator, may be extravagant, affected, or passionate, as required. He may have recourse to scenery and surroundings in order the more fully to act his part, while the orator is compelled to resort entirely to his own powers. Hence, oratory is the higher, greater, more commendable art.

In presenting these pages upon Dramatic Action, it is not the object of the author in any way to encourage a taste for pernicious or even questionable acting or theatre performance, but simply to apply the principles of elocution to the stage, and to show wherein lies the difference