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EXERCISE VII.

Seated in a chair, grasp the rounds at the sides in such a way that the arm is stretched fully and it is not possible for the shoulders to rise. In this position, take slow, full breaths, increasing the rapidity until it is possible to take a very short, quick breath without moving the shoulders.

TO THE TEACHER: Breathing exercises are sometimes very exhausting to delicate pupils. Exercise the greatest caution with them, and remember that speedy and remarkable development is too often gained at the expense of vitality. The slowest growth is most permanent.

The Vowels.-Continued.

13. A in all call; also heard in taught, broad, thought.

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A curious blunder on the part of many speakers is to say sawr mawr " for maw, while at the same time they are often careful to say " for

" for saw,

maw

more. Make a careful distinction between words like carves and calves without overdoing ther sound; also in orphan and often, coughing and coffin.

14. Ö before r in ör, nör; also in sewer, mower, oar, door, four. This sound of ö is not the sound of a; it is nearer to long ō.

The following examples may be used, at the discretion of the teacher, as studies in emotional breathing. Notice that the centre of activity varies with each example, as does also the texture of the body.

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EXAMPLES FOR PRACTICE IN BREATHING.

Down with the tyrants of England! we never have sworn them allegiance!

Death to these foreign soldiers, who seize on our homes and our

harvests.-Longfellow.

Lift up your heads, O ye gates; and be ye lifted up, ye everlasting doors; and the King of Glory shall come in.

Who is this King of Glory? The Lord strong and mighty, the Lord mighty in battle.-Bible.

By my troth, Nerissa, my little body is a-weary of this great world. -Shakespeare.

Ha, ha, ha, ha, ho, ho, ho, ho, he, he, he, he, he!

Alas! Ah me!

Old Simon doth chuckle and crow, "Ho, ho,
What, marry old Margery? No, no, no!"

Ay, de mi! Like echoes falling,
Sweet, and sad, and low,
Voices come at night, recalling

Years and years ago.-Waller.

It was the butcher's daughter, then,

So slender and so fair,

-Old Song.

That sobbed as if her heart would break,

And tore her yellow hair;

And thus she spoke in thrilling tone,

Fast fell the tear-drops big:

"Ah, woe is me! Alas! alas!

The pig! the pig! the pig!"--Holmes.

"Yo ho, my boys!" said Fezziwig, “no more work to-night. Christmas Eve, Dick! Christmas, Ebenezer! Let's have the shutters up before a man can say Jack Robinson. Clear away, my lads, and let's have lots of room here'"-Dickens.

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"Will they do it?"
"Who is speaking?"

"What of Adams?"

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Dare they do it?"

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'What's the news?

"What of Sherman ?"

"O God, grant they won't refuse!"

"Make some way, there!" "Let me nearer!'

"I am stifling!" "Stifle, then: When a nation's life's at hazard

We've no time to think of men!

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"The Independence Bell."

I am the God Thor, I am the War God,
I am the Thunderer! Here in my Northland,
My fastness and fortress, reign I forever.

Jove is my brother; mine eyes are the lightning;
The wheels of my chariot roll in the thunder,
The blows of my hammer ring in the earthquake!
-Longfellow.

Thick-sprinkled bunting! flag of stars!

Long yet your road, fateful flag-long yet your road, and lined

with bloody death;

For the prize I see at issue at last is the world.

All its ships and shores I see interwoven with your threads,

greedy banner;

Dream'd again the flags of kings, highest borne, to flaunt unrivall'd?

O hasten, flag of man!-O with sure and steady step, passing highest flags of kings,

Walk supreme to the heavens, mighty symbol-run up above

them all,

Flag of stars! thick-sprinkled bunting!—Walt Whitman,

LESSON XX.

The Language of the Body.

PANTOMIMIC EXPRESSION.

The body, as well as the voice, is a means of expression; and its language, which we call pantomime, is even more effective than speech. "Actions speak louder than words," says the proverb. You cannot say "I love you," and persuade anybody that you mean it, if your face wears an ugly scowl or your fist threatens mischief. The body is the outward manifestation of the soul within and faithfully indicates every emotion, however slight. Nor do these manifestations entirely disappear with the emotion that causes them. Every disagreeable or evil passion is registered upon the organism, until the frequent scowl or sneer becomes a permanent disfigurement of the face, or the slouchy, careless carriage of the body becomes a habit and, finally, a bearing, which is a true index of the lazy or careless spirit within. On the other hand, a happy disposition or a truly brave spirit shows itself in the open countenance or manly bearing.

The attitude or action of the body has a marked

effect upon the voice. If you sing the syllable ah with an open, relaxed face and easy position and then with a frown and the fists clinched, you will notice a decided difference in the quality of the tone. Not only does the mind help to form the body, but pantomimic expression affects the mind or soul. If you remain for a little time in an attitude expressive of deep dejection, you will feel, in a greater or less degree, a corresponding mental condition; while a buoyant, strong attitude will often act as a tonic to mind as well as to body.

The speaker should have at his command a wide range of attitudes and actions and a thorough knowledge of the meaning of what he does, as well as of what he says. Every action of the body has a definite meaning, and when we are not embarrassed we express ourselves naturally by means of these actions; but on coming before an audience, or even when rehearsing in private, we become self-conscious and constrained. The practice of exercises in pantomimic expression, however, enables us to feel that sense of repose and freedom that always comes with knowledge of our resources and perfect command of them.

We cannot take up in this little book all the actions and attitudes, but will endeavor to select those most useful for our present needs.

We will consider the body, for convenience, in four divisions: The trunk or torso, as artists call it, the head, the legs, and the arms.

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