A B C D E F G H I J K L M N O P R S T U V W X Z

The American Union Speaker

J >> John D. Philbrick >> The American Union Speaker



Produced by W. B. Jenness





ENTERED ACCORDING TO ACT OF CONGRESS, IN THE YEAR 1865, BY

JOHN D. PHILBRICK,

IN THE CLERK'S OFFICE

OF THE DISTRICT COURT OF THE DISTRICT OF MASSACHUSETTS.

RIVERSIDE, CAMBRIDGE:

STEREOTYPED AND PRINTED BY

H. O. HOUGHTON AND COMPANY.


PREFACE.

The design of this book is twofold,--to meet the present demand for new
selections suited to the spirit of the hour, and also to furnish a choice
collection of standard pieces for elocutionary exercises on which time has
set its lasting seal. In the execution of this design no pains have been
spared in selecting and preparing the best pieces, both new and old.

The extracts from recent productions, numbering about one hundred, by more
than fifty different authors, are now for the first time presented in a
Speaker. They are for the most part the eloquent utterances of our best
orators and poets, inspired by the present national crisis, and are
therefore "all compact of the passing hour," breathing "the fine sweet
spirit of nationality,--the nationality of America." They give expression
to the emotions excited, the hopes inspired, and the duties imposed by this
stormy and perilous period. They afford brilliant illustrations of the
statesmanship of the crisis. Sumner exposes the origin and mainspring of
the rebellion, Douglass strips off its pretext, Everett paints its crime,
Boutwell boldly proclaims its remedy in emancipation, and Banks pronounces
a benediction on the first act of reconstruction on the solid basis of
freedom to all. They furnish also an epitome of the convict of arms. Bryant
utters the rallying cry to the people, Whittier responds in the united
voice of the North, Holmes sounds the grand charge, Pierpont gives the
command "Forward!" Longfellow and Boker immortalize the unconquerable
heroism of our braves on sea and land, and Andrew and Beecher speak in
tender accents the gratitude of loyal hearts to our fallen heroes.

These new pieces will for a time receive the preference over old ones, and
some of them will survive the period which called them forth. But to insure
for the work, if possible, a permanent value as a Standard Speaker for
students of common schools, higher seminaries and colleges, the greater
part of the selections, nearly three hundred in number, have been chosen
from those of acknowledged excellence, and of unquestionable merit as
exercises for recitation and declamation. This department comprises every
variety of style necessary in elocutionary culture.

Another important feature of the collection is the introduction of those
masterpieces of oratory--long excluded from books of this class, though now
rendered appropriate by the new phase of public opinion,which advocate the
inalienable rights of man, and denounce the crime of human bondage. Aware
of the deep and lasting power which pieces used for declamation exert in
moulding the ideas and opinions of the young, it has been my aim to admit
only such productions as inculcate the noblest and purest sentiments,
teaching patriotism, loyalty, and justice, and bring the youthful heart
with ambition to be useful, and with heroic devotion to duty.

The text of the extracts has been made to conform to that of the most
authentic editions of the works of their authors. Some pieces which have
heretofore been presented in a mutilated form, are here restored to their
original completeness. Where compression or abridgment has been necessary,
it has been executed with caution, and with strict regard to the sentiments
and ideas of the authors. Fully convinced that elaborate treatises on
elocution more appropriately form separate publications, nothing of the
kind has been included in this volume. A summary of practical suggestions
to teachers and students was thought to form a more useful introduction.
For the sake of artistic beauty in the page, as well as for the convenience
of the student, the notes and explanatory remarks necessary for the proper
understanding of the pieces, have been thrown together at the end of the
volume, and so arranged that reference to them can be easily made.

This work, the preparation of which has been a recreation rather than a
labor--an agreeable diversion from the daily routine of a laborious
office,--is the embodiment of the experience and observation of twenty-five
years, with reference to this description of literature. It originated in a
desire to contribute something to the furtherance of the right education of
the young men of my country, and the extent to which it promotes this
object, will in my estimation, be the measure of its success.

Boston, July 4, 1864.






INTRODUCTORY REMARKS ON DECLAMATION.

It is not my purpose to present here a theory of elocution, or a systematic
treatise on the art of speaking. My object will be accomplished if I
succeed in furnishing a summary of practical suggestions and hints on the
subject of declamation which shall prove useful both to student and to such
teachers as have not made the study of elocution a specialty.

That a correct and impressive elocution is a desirable attainment, few will
venture to deny. In my judgment it is the crowning grace of a liberal
education. To the highest success in those professions which involve public
speaking, it is, of course, indispensable. No person, whatever is to be his
destination in life, who aspires to a respectable education and to mingle
in good society, can afford to dispense with this accomplishment. If a
young man means to succeed in life and attain distinction and influence, he
should spare no pains in the cultivation of the faculty of speech. The
culture of his vocal organs should keep pace with the culture of his mental
powers. While acquiring a knowledge of literature and science, he should
also form the habit of speaking his vernacular with propriety, grace, ease,
and elegance, sparing no effort to acquire what has been aptly called "the
music of the phrase; that clear, flowing, and decided sound of the whole
sentence, which embraces both tone and accent, and which is only to be
learned from the precept and example of an accomplished teacher."

As a means of acquiring an appropriate, effective, and graceful elocution
for the purposes of conversation, reading, and public speaking, the
exercise of declamation, when properly conducted, cannot be too highly
valued. It must be confessed, however that the practice of declaiming as
managed in some institutions, is comparatively useless, if not positively
injurious. Hence arises the prejudice against it which exists in some
quarters. And it is not surprising that the results of declamation should
be unsatisfactory, considering the defective methods of conducting it,
which are still prevalent in not a few places. What can be expected of
declamation which consists in repeating on the stage a few
pieces,--injudiciously selected and imperfectly committed,--without
previous or accompanying vocal training? The remarks of Dr. Rush, on this
topic, though made more than a quarter of a century ago, are still to some
extent applicable. "Go to some, may I say all, of our colleges and
universities, and observe how the art of speaking is not taught. See a boy
of but fifteen treats sent upon the stage, pale and choking with
apprehension, in an attempt to do that, without instruction, which he came
purposely to learn; and furnishing amusement to his classmates, by a
pardonable awkwardness, which should be punished in the person of his
pretending but neglectful preceptor with little less than scourging. Then
visit a conservatory of music; observe there the orderly tasks, the
masterly discipline, the unwearied superintendence and the incessant toil
to produce accomplishment of voice; and afterward do not be surprised that
the pulpit, the senate, the bar, and the chair of the medical professorship
are filled with such abominable drawlers, mouthers, mumblers, clutterers,
squeakers, chanters, and mongers in monotony; nor that the schools of
singing are constantly sending abroad those great instances of vocal
wonder, who draw forth the intelligent curiosity and produce the crowning
delight and approbation of the prince and the sage."

This eminent writer's great work on the Philosophy of the Human Voice has
done much to correct the evil which he so graphically described. There are
now some schools and colleges to be found in which elocution is taught with
much skill and success. Among the disciples of Dr. Rush who have most
successfully cultivated the art of elocution in America, the foremost place
belongs to Professor William Russell, whose valuable and protracted labors
in this department of education, both as an author and a practical
instructor, merit the highest commendation.

As the first of my recommendations, I would, at the outset, strenuously
insist on the importance of systematic vocal culture, which implies the
training of the ear to perceive the various qualities and modifications of
vocal expression, and the training of the voice to produce them. All the
different functions of the voice employed in speech should be analytically
exemplified by the teacher, and practised by the pupil, in the reading or
recitation of short passages in which they are well illustrated, such as
may be found in any good manual of elocution. This kind of teaching is to
elocution what practice upon the scale is to music, and what the practice
of the eye upon the harmony and contrast of colors is to painting.

This course of training naturally divides itself into two
departments:--first that which is mechanical; and, secondly, that which
relates to the expression of thought and emotion.


I. THAT WHICH IS MECHANICAL.

BREATHING. The human voice is a musical instrument, an organ of exquisite
contrivance and adaptation of parts. Breath being the material of its
sound, vocal training should begin with the function of breathing. Vigorous
respiration is as essential to good elocution as it is to good health. To
secure this it is necessary, in the first place, to attend to the posture,
taking care to give the utmost freedom, expansion, and capacity to the
chest, and then to exercise and develop all the muscles employed in
respiration, so that they may be habitually used with energy and power,
both in the inhalation and expulsion of the breath. Whenever the voice is
to be used in speaking, reading, singing, or animated conversation, the
pupil should be required to assume the proper position, and to bring into
exercise the whole muscular apparatus of the vocal organs, including the
muscles of the abdomen, of the back, of the ribs, and of the chest.
Elocutionary exercises, especially that of declamation, thus practised with
a due regard to the function of breathing, become highly beneficial in a
hygienic point of view, imparting health and vigor to the whole physical
system. The want of this kind of training is the cause of much of the
bronchial disease with which clergymen and other public speakers are
afflicted. In the excellent work on Elocution, by Russell and Murdock, the
following exercises in breathing are prescribed and explained:--"Attitude
of the body and position of the organs; deep breathing; diffusive or
tranquil breathing; expulsive or forcible breathing; explosive or abrupt
breathing; sighing; sobbing; gasping; and panting."

Experience has proved that the respiratory organs are susceptible of a high
degree of development, and it is well known that the strength of the voice
depends on the capacity, health, and action of those organs. It is
therefore of paramount importance that elocutionary culture should be based
on the mechanical function of respiration. And while the elocutionist
trains his pupils in such breathing exercises as are above named, he is at
the same time giving the very best part of physical education; for the
amount of vital power, as well as the amount of vocal power, depends upon
the health and vigor of the respiratory process. Few are aware how much may
be effected by these exercises, judiciously practiced, in those
constitutions where the chest is narrow, indicating a tendency to pulmonary
disease. In all such cases, regularly repeated deep inspirations are of the
highest value. It should be observed that these exercises are best
performed in the open air, or, at least, in a well-ventilated room, the
windows being open for the time. But no directions however wise or minute,
can supersede the necessity of a competent teacher in this branch of
physical and vocal training, and I cannot dismiss this topic without
expressing my high appreciation of the value of the labors of that great
master of the science of vocal culture, Prof. Lewis B. Monroe, of Boston,
who is probably unsurpassed in this, or any other country, as a practical
teacher of the mechanism and physiology of speech. Already the benefit of
his instruction in this department of education is widely felt, and I omit
no opportunity to advise teachers to avail themselves of a longer or
shorter course of his admirable training. For if there is any
accomplishment which a teacher should be unwilling to forego, it is that,
of skill in elocution.

ARTICULATION. A good articulation consists in giving to each letter its
appropriate sound, and to each syllable and word an accurate, forcible, and
distinct utterance, according to an approved standard of pronunciation.

This is what constitutes the basis of all good delivery. It has been well
said that good articulation is to the ear what a fair hand or a clear type
is to the eye. Austin's often-quoted description of a good articulation
must not be omitted here. "In just articulation, the words are not to be
hurried over, nor precipitated syllable over syllable; nor as it were
melted together into a mass of confusion. They should be neither abridged
nor prolonged, nor swallowed, nor forced; they should not be trailed, nor
drawled, nor let to slip out carelessly, so as to drop unfinished. They are
to be delivered out from the lips as beautiful coins newly issued from the
mint, deeply and accurately impressed, perfectly finished, neatly struck by
the proper organs, distinct, in due succession, and of due weight." Good
articulation is not only necessary to the speaker, as a condition of being
heard and understood, but it is a positive beauty of delivery, for the
elementary sounds of speech, when properly uttered, are in themselves both
agreeable and impressive. For the attainment of this desirable
accomplishment, three classes of exercises are necessary. 1. Upon the
separate elementary sounds of the language, both vowels and consonants; 2.
Upon their various combinations, both such as constitute syllables and such
as do not, and especially the more difficult combinations of consonants;
and, 3. Upon words; spelling them by sounds, that is, uttering the
elementary sounds separately, and then the whole word.

Respecting these exercises, Dr. Rush observes:--"When the elements are
pronounced singly, they may receive a concentration of organic effort,
which gives them a clearness of sound, and a definiteness of outline, if I
may so speak, at their extremes, that make a fine preparation for a
distinct and forcible pronunciation of the compounds of speech." By
elementary sounds is here meant the forty-two sounds of the language which
are represented by the twenty-six letters of the alphabet. They are
represented in the following

TABLE OF ELEMENTARY SOUNDS.

VOWELS.

1. e, eve. 7. a, arm. 13. o, move.
2. i, in. 8. a, all. 14. u, full.
3. a, ale. 9, o, on. 15. u, tune.
4. e, end. 10. e, err. 16. i, isle.
5. a, air. 11. o, own. 17. oi, oil.
6. a, and. 12. u, un. 18. ou, our.

CONSONANTS.

1. p, rope. 9. th, bath. 17. ch, etch.
2. b, robe. 10. th, bath. 18. dg,(j) edge.
3. f, safe. 11. s, buss. 19. sh, rash.
4. v, save. 12. z, buzz. 20. g,(zh) rouge.
5. m, seem. 13. l, feel. 21. k, rack.
6. w, way. 14. r, fear. 22. g, rag.
7. t, feet. 15. n, seen. 23. ng, sing.
8. d, feed. 16. y, yea. 24. h, hay.

Pronounce the word eve, for example, slowly and distinctly, observing the
sounds which compose the word, and the movements of the organs in producing
them. Then enunciate singly the sound which the letter standing on the left
has in the word. When a distinct idea of each sound has been acquired, the
practice on the separate elements may be continued without pronouncing the
words. I have heard these sounds given with distinctness by children five
or six years of age. Indeed they should always be taught with the alphabet.

The next step in articulation proceeds with the combinations of the
elementary sounds. The most common combinations of consonantal sounds in
pairs are those represented in the following

TABLE OF COMBINED CONSONANTS.

pl lf zm zn kr vd rth
bl lv mp ln pr zd nth
fl lt mf rn rp gd thz
vl ld mt nt rb bz thr
tl ls md nd rf vz thn
dl lz mz ns rv dz lch
sl lk pn nz rt gz rch
zl lg fn pr rd nk nch
kl lm vn br rz ks ndg(j)
gl ln tn fr rk kt shr
lp rm dn tr rg st ndg
lb sm sn dr bd sp ndz

When the simpler combinations have become familiar, the more difficult,
consisting of three or four consonants, should be practised upon. Finally,
words should be pronounced simply as words, giving attention solely to the
articulation. Not that the first steps are expected to be perfect before
the succeeding ones are attempted, but that attention should be given to
only one thing at a time, a grand maxim in education, when rightly
understood. These exercises should be commenced with the first steps in
reading, and continued until the articulation is perfected, and the student
has acquired facility as well as precision, grace as well as force, and
distinctness and ease have been united and permanently secured.

I would not be understood to affirm that the mode here pointed out is the
only one by which a good articulation can be acquired. If a child is
brought up among persons whose articulation is good, and if, from the
earliest years, he is trained to speak with deliberation and distinctness,
he will in most cases have a good articulation for conversational purposes,
without special drilling on the elements.

II. THAT WHICH RELATES TO THE EXPRESSION OF THOUGHTS AND FEELINGS,
INCLUDING THE QUALITIES AND MANAGEMENT OF THE VOICE.

This branch of vocal gymnastics comprises, first the appropriate discipline
of the voice for its formation and development, by strengthening it, by
extending its compass, and by improving its quality so as to render it
full, sonorous, and agreeable; and, secondly, the training of the voice in
those modifications which are used in the expressions of thought and
feeling, including all that variety of management which appears in the
delivery of a good speaker.

STRENGTH. To secure the requisite strength of voice should be our first aim
in a course of vocal culture. So important was this element of elocutionary
training considered by the Athenians, that they had a class of teachers who
were wholly devoted to it as a specialty. The zeal and perseverance of
Demosthenes in correcting the natural deficiencies of his voice, have
passed into a proverb. How he was accustomed to run up the steepest hills,
and to declaim on the sea-shore, when the waves were violently agitated, in
order to acquire strength of voice and force of utterance is known to every
school-boy.

If strength of voice is of paramount importance to the speaker, it is also
an element which is very susceptible of cultivation. Professor Russell
says,--"The fact is familiar to instructors in elocution, that persons
commencing practice [in vocal gymnastics] with a very weak and inadequate
voice, attain, in a few weeks, a perfect command of the utmost degrees of
force." As has already been intimated, the strength of the voice depends
directly upon the condition and use of the respiratory organs, including
the larynx, and indirectly upon the general health and vigor of the whole
physical system. The volume of breath which can be inhaled, and the force
with which it can be expelled determine the degree of energy with which
vocal sounds are uttered. This fact affords a clear indication of the
proper mode of developing the strength of the voice. It is evident that the
exercises which have for their object the strengthening of the voice,
should also be adapted to develop and perfect the process of breathing. The
student should be frequently trained in set exercises in loud exclamations,
pronouncing with great force the separate vowel sounds, single words, and
whole sentences, and at the same time taking care to bring into vigorous
action, all the muscular apparatus of respiration. Shouting, calling, and
loud vociferation, in the open air, both while standing, and while walking
or running, are, with due caution, effective means of acquiring vigor of
utterance. Children when at play are instinctively given to vociferation,
which should be permitted, whenever practicable. One of the most remarkable
examples of the extent to which the power of voice may be developed, is
that of the Rev. Mr. Whitefield, the celebrated itinerant preacher. Having
listened to his preaching in the open air, in Philadelphia, on a certain
occasion, Dr. Franklin found by computation, that he might well be heard by
more than thirty thousand auditors. It is said that the habit of speaking
gave to the utterance of Garrick so wonderful an energy, that even his
under-key was distinctly audible to ten thousand people. Dr. Porter sums up
this matter thus :--"The public speaker needs a powerful voice; the
quantity of voice which he can employ, at least can employ with safety,
depends on his strength of lungs; and this again depends on a sound state
of general health. If he neglects this, all other precautions will be
useless."

COMPASS. When a person is engaged in earnest conversation, his voice
spontaneously adopts a certain key or pitch. This is called the natural or
middle key, and it varies in different persons. Pitt's voice, it is said,
was a full tenor, and Fox's a treble. When a speaker is incapable of loud
and forcible utterance on both high and low notes, his voice is said to be
wanting in compass. Webster's voice was remarkable for the extent of its
compass, ranging with the utmost ease, from the highest to the lowest
notes, required by a spirited and diversified delivery; and such was said
to be the versatility of Whitefield's vocal power, that he could imitate
the tones of a female, or the infant voice, at one time, and at another,
strike his hearers with awe, by the thunder of his under-key.

The want of compass is more frequently the result of bad habits of speaking
and imperfect training than of incapacity of the vocal organs. Mr. Murdock,
the well-known actor and elocutionist, tells us that, by appropriate vocal
training, he gained, within the space of some months, to such an extent, in
power and depth of voice, as to add to its previous range a full octave;
and this improvement was made at a period after he supposed himself nearly
broken down in health and voice, by over-exertion on the stage.

A command of the low notes is essential to the fullest effect of impressive
eloquence. The strongest and deepest emotions can be expressed only by a
full, deep-toned utterance. Speaking on one key, with only slight
variations, either above or below it, is perhaps the most common, and, at
the same time, the most injurious fault both of declaimers and of public
speakers.

As a means of acquiring compass of voice, the student should pronounce with
great force the vowel sounds on both the highest and lowest notes he can
reach. This elementary drill should be followed by practice in reading and
declaiming selections requiring the extreme notes of the compass. For
practice on the low notes, passages should be selected expressing deep
solemnity, awe, horror, melancholy, or deep grief. The following fine
simile affords an excellent example for practice on the low notes:--

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