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on the way?
rvdst, observ'dst, starv'dst, subserv'dst.
Avarice thou starv'dst thyself for the sake of that
rvst, starv'st, deserv'st, reserv'st.
Thou prudently reserv'st thy strength for the final
sf, sphacel, sphex, spheral.
The spheric beauty of the dome evoked the admira-
hr, shroud, shrivel, shrift.
The shroud may soon envelop the graceful form
skr, scrape, screed, scrimp.
He was such a scrimp that any screed against him
sks, basilisks, burlesques, masks.
Doggerel is best adapted to burlesques in poetry. skst, bask'st, husk'st, ask'st.
Husk'st thou the golden ears? slst, bustl'st, tussl'st, nestl'st.
Thou bustl'st around as officiously as a person who
snz, lessens, heightens, havens.
The havens of peace are nigh to the turbid waters
snst, moist'n'st, height'n'st, quick'n'st.
Thou moist'n'st the brow of suffering with tears
wasps, wisps, cusps.
It is strange that wasps which feed on the sweets
sts, breasts, outcasts, nests.
On the last day when the breasts of all shall be un
burdened before all, we shall know our friends. stst, forecast'st, persist'st, overcast'st.
Forecast'st thou consequences in accordance with
the dictates of prudence! ths, troths, drouths, wreaths.
Time had not made one cycle ere their plighted troths were broken.
bequeath’d, smooth’d, sheath d. He bequeath'd his family that priceless inheritance
-a noble example, an unsullied name. thz, scath's, swath's, tith's.
He scath's the memory of the man whom he feared
when living. thst, breath'st, loath'st, smooth'st.
Thou loath'st climbing and yet wouldst faip
ascend? tlst, whittl'st, battl'st, prattl'st.
Battl'st thou against fortune's decrees? tldst, whittldst, battl’dst, prattı’dst.
Thou prattl'dst the drowsy hours away. tsht, attach'd, sketch'd, couch’d.
He that is attach'd truly to virtue's cause must be
virtuous. tshst, vouch'dst, scorch'dst, search'dst.
Vouch'dst thou for the charter of X-? Then
thine own character needs a voucher: vdst, engrav’dst, retriev'dst, behoov'dst.
Thou retriev’dst by thy kindness innumerable
faults. vist, swiv’l'st, lev’l’st, rev’l'st.
Thou rev’l'st while dear ones at home are weeping
and starving. vlz, hovels, grovels, travels.
Visit hovels, and contemplate human misery.
vz, hives, groves, sleeves.
The groves are musical with living hives. vst, improv'st, conniv'st, pav'st.
Thou improv'st thy mind and heart by closely ob-
znd, impris'n'd, reas'n'd, seas'n'd.
It is only the seas'n'd bark that may safely tempt
znz, treasons, mizzens, emblazons.
Probably the best definition of gesture ever given is that of DELSARTE: "Gesture is the manifestation of the being through the activities of the body.” Accepting this definition, we acknowledge that Gesture should come in answer to the inward impulse, or motive, and should be an outward expression of that motive or emotion.
The student that would rest satisfied with mastering a number of formal Gestures, expressive of different meanings, would fail to grasp the correct idea of gesture. The Gesture must portray some emotion existing in the being. If the emotion within does not move the speaker to action, he is soulless and all the grace of a Roscius would not make a good speaker of him. There is, no doubt, such a thing as the cultivation of those emotions, those impulses to action. The training of the soul in virtue, and of the mind in the arts and sciences, tends to develop in man keener perception and stronger emotions. The better our lives are the quicker do we shrink from evil; the more thorough our education is, the more easily do we distinguish between truth and falsehood. It may be noticed that artists, owing to to their refined sensibilities, are more sensitive than others. They have unconsciously developed this sensitive nature by close application to the niceties and fine points of their art.
However the development of the emotions in man is not the chief aim of elocution. Elocution's task is to teach the correct, and therefore, the artistic portrayal of the emotions.
Professor Brown, in his“Philosophy of Expression,” says: “A single caution should be whispered in the ear of the earnest student of technical gesture. We put our suggestions in two apothegms: I. Conscious technique kills expression. II. A gesture put on is a grimace. It has no art-expression."
Naturalness in gesture is only present when self is suppressed and the inward emotion spurs us on to action. Before you will be able to express the emotions of the soul correctly, you must hecome as the child, without self-consciousness. What is truer to nature, and at the same time more graceful than the little child! It manifests artlessly, and, yet,artistically, the emotions it feels. In applying ourselves to the study of gesture, we should copy this model: for here nature speaks untrammeled by art. He that is always straining after effect, will lose in the impression he would make. We must relax, not strain.
We must learn to suppress self, and let the inward emotion give the impulse to action.
A course in the Relaxation of the different muscles of the body is, therefore, highly necessary in order to fit us for portraying the emotions. By Relaxation is meant the taking of the will power away from the muscles and allowing the limb to hang as if dead. by this means to get rid of self-consciousness in the