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thereby, to depreciate any of the noble names of literature, or rob them of deserved prominence. We only wish to remove writers of merit from cobwebbed shelves, where their beauties have too long been obscured by dust and silence. It is hoped that the tidbits given, while they delight the mind with their beauty and elevate and refrosh it with wholesome truths, will also excite a craving for more. Hence, we have given, the names of works and authors. Only selections recommended by intrinsic worth should be memorized. Students should be required to seek additional examples from other sources. Turning the leaves of our popular readers at random they will be greeted by apt selections from Milton, Sir Walter Scott, Thackeray, Bulwer Lytton, Dickens, Ruskin, Longfellow, Macaulay, Tennyson, Webster, Clay, Burke, etc.

The arrangement of subjects in an elocution book is always attended with difficulties. As regards logical order, it resembles the alphabet. If G were placed before B, and Y besore C, the alphabet would not suffer. Before we can read well we must know all the letters, for Z sometimes precedes his extreme brother A, and ( not seldom introduces the egotist, I. It is the same in elocution. Vocal elements that are treated last may enter a given selection earlier, and characterize it more than some treated in the fore-part of the book. Until they are all mastered, we cannot read well. If the arrangement we have given does not accord with any professor's views, it will be an easy task to change the order and take any section or chapter that expedience advises or circumstances require. As it stands, we suggest the following order: I. Class, Breathing, Action, Articulation, and the sim

pler Gestures.

II. Class, Gesture, Force, and Delsarte's Laws of

Gesture. III. Class, Pitch, Inflexion, Quality, and Planes of

Gesture. IV. Class, Emphasis, Gestures of Different Members,

and Pause. V. Class, The remainder of the book.

With all of these review, review, review.

Concert drills are recommended for economizing time and labor. In this way each student will receive some practice every class hour. It is only by practice skill may be acquired. A student may be able to tell you very accurately how a certain selection should be spoken and why it should be so rendered, but this will avail him but little as an orator, if he does not, by diligent practice, attain the power of doing it gracefully.

One selection mastered thoroughly is better than numberless ones imperfectly studied.

Class criticism may be employed to produce worthy emulation. It makes speaker and hearer vigilant.

The book does not claim to be exhaustive or perfect.

“Whoever thinks a faultless piece to see, .
Thinks what ne'er was, nor is, nor e'er shall be."

Hence, kindly criticism, for the improvement of future editions, will be gratefully received.

We acknowledge indebtedness to Maurice Francis Egan, LL.D., Rev. Alfred Young C. S.P., Eleanor C. Donnelly, and others for the generous permission granted us to quote from their writings.

If the principles herein laid down further the power of human speech, kindle the fires of eloquence slumbering in many a youthful bosom, give to College graduates a trusty vehicle to convey truth and a strong weapon to defend right, the irresistible weapon-graceful delivery—the fondest hopes of the authors will be realized

THE AUTHORS. September 14, 1895.



We have aimed to make the second edition more worthy of the kind commendation which the first appearance of the work elicited Through the kindness of Father Butler, Louise Imogen Guiney, Ina Coolbrith, Richard M. Johnston, and others, we have been able to enhance our examples and selections with valuable copyright matter. In other respects, this edition closely resembles its predecessor.

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