is the opposite imperfection? What is simplicity of gesture' What is the opposite imperfection? What is grace of gesture? Page 127. What is the opposite imperfection? What is propriety of gesture? What are the opposite imperfections? From what does precision of gesture arise? What are the opposite imperfections? What are the three general modes of public speaking? Does each require a different style of gesture? What does epic gesture demand? Page 128. What does rhetorical gesture require? What does colloquial gesture require? Under what circumstances should the gestures of the public speaker be principally of that class which is called discriminating gestures? How should he perform them? From what does the charge, which is sometimes made against public speakers, of being theatrical in their gesture, probably arise? Page 129. On what occasions should the public speaker use more graceful, more flowing, and more varied gesture? What should he guard against, and how should all his gestures be regulated? What are the most important significant gestures of the head and face? What are the most important significant gestures of the eyes? Page 130. What are the most important significant gestures of the arms? Name some of the most important significant gestures of the body. What are some of the most important signifi cant gestures of the lower limbs? Page 147. What is Lord Kames's definition of grace? On what does the gracefulness of rhetorical action depend? Where is grace to be found? Can true grace and consummate eloquence be acquired by every one? In what does the grace of oratorical action consist? Why should action, to be graceful, be performed with facility? Why should it be performed with freedom? Page 148. What are some of the situations in which it would be impossible for an orator to be truly graceful? Is the restraint arising from diffidence prejudicial to grace? How may it be corrected? What is indispensable for the maintenance of grace in rhetorical action? Do simplicity and truth of manner constitute grace? What effect have gestures, which are contrived for the mere display of the person, or for the exhibition of some foppery, as, for instance, a fine ting? What effect has affectation upon oratorical grace? What are some of the faults of manner? Page 149. Why is the action of young children never deficient in grace? In what does the grace of action consist, according to Hogarth? Is his definition correct? From what does rhetorical action derive its grace? PRACTICAL ELOCUTION. HAVING treated of the principles of Reading and Speaking, it is now necessary, in order to render this Work an entire System of Elocution, to furnish the pupil with appropriate Exercises for the practical application of these principles. The Exercises are divided into two Parts. Part I. consists of Exercises in Articulation, Pitch, Force, Time, and Gesture. Part II. consists of Exercises in Reading and Declamation. PART I. EXERCISES IN ARTICULATION, PITCH, FORCE, TIME, AND GESTURE. FIRST EXERCISE. Table of the Elements of the English Language. This Exercise should be practised as follows: 1. Utter each ele uent with the falling inflection, the vowels with explosive force. 2. Utter each vowel and subvowel, alternately, with the rising and falling inflection. 3. Utter the vowels with the falling inflection, alternately, in a high and low pitch. 4. Utter each vowel in the Inedium pitch of the natural voice, then in the falsetto, and lastly, in the lowest note of the natural voice. 5. Pronounce every word under the head Subvowels, as well as under the head Aspirates, in the following manner: make a full inspiration, and dwell for two or three seconds on the initial element; then utter the remainder of the word with a sudden and forcible expulsion of the breath.* SECOND EXERCISE. In this Exercise, every vowel is preceded by every subvowel, and by every aspirate. å å å â | è è | i î | ¿ ¿ ¿ | ú ú ú | ou. bà bả bà bả | bè bẻ | bị bỉ | bồ bỏ bỏ | bù bả bủ | bou. dà dã dà dâ | dẻ dẻ | di dỉ | dô đỗ do | dù dủ dù | dou. gà gà gà ga|gê gê | gì gì|gồ gỗ gồ [gủ gỗ gù 1gou. là là là là | lẻ lẻ | 11 lỗ | lỗ lồ lỗ | Tủ là lu | lou. må mả mà mả | mẻ mẻ | mở mỉ | mở mở mỏ | mů mů mů | mou. nả nả nà nả| nề nẻ | nl nỉ | nô nô nô nủ nủ nủ | nou. ra rả ra rả | rẻ rẻ | rỉ rỉ | rỏ rỏ rỏ | rủ rủ rủ | rou. THẢ THẢ THẢ THỦ | THẾ THỦ | THÌ THÌ | THỔ THỎ THỎ | THỦ THỦ THỦ | THOI. và vả và vâ| về vẻ | vl vỉ | vỏ vỏ vỏ | vú và vú | vou. wà wả wà wa | wè wẻ | wi wi | wỏ wỏ wỏ | wủ wủ wủ | wou. yà yà yà yà | yẻ yê | yì yì | yỏ yỏ yỏ | yủ yủ yủ | you. kẻ | kỉ kỉ | hồ kả kả hả hê | kẻ sả sả sả s4 | sẽ sẻ | sỉ sỉ | sở sở sở | su sủ sủ | sou. As song and orb do not begin with a subvowel, they should be omitted in this exercise. And as it is impossible to dwell on the aspirate, h, the word hut may also be omitted. sha sha sha shâ | shẻ shẻ | shi shi | shỏ shỏ shỏ : shů shů shủ | shou. tả tả tà tả | tè tẻ | tỉ tỉ | tỏ tỏ tỏ | tủ tủ tủ | tou. thà thả thà thờ | thẻ thẻ | thì thì | thỏ thỏ thù thủ thù | thou. tho wha whả whà wha | whe whẻ | whi whỉ | whỏ whỏ whỏ | whủ whủ whủ | whou. THIRD EXERCISE. The object of this Exercise is to bring into proper play the muscles of the lips, and enable the pupil to pronounce with facility, v, w, and wh, in certain situations, and to distinguish between them. ▾ The design of this exercise is to bring into proper action the FIFTH EXERCISE. The object of this Exercise is to enable the pupil to utter perfectly the subvowels and aspirates, when they are the final elements of words. an, ang; en, eng; in, ing; on, ong; un, ung. SIXTH EXERCISE. This Exercise exhibits the analysis of words in which there are easy combinations of elements. In the first column the words are presented as they are usually spelled; in the second, their elements are separated by hyphens. The pupil should spell the words, uttering, separately, each element, and not the name of the letter, as is generally done in the schools. muscles which move the tip, and root of the tongue, and to contrast the elements, d and g, and t and k, which, by children, are sometimes confounded. The want of entire command of the muscles of the tongue and lips, is the reason why some persons speak thick, as it is called. A part of this Exercise is adapted to the case of lispers, those who substitute the subvowel Tн for ; and the aspirate th for 8. |