TRANSITIONAL MOVEMENTS OF THE ARMS. The following diagrams exhibit the preparatory motions which take place in graceful transition from point to point. The exercise which is introduced by the diagrams, will be found profitable as a general calisthenic drill, for a school or class; and may be given once or twice a day, for the term, with the greatest profit. EXPLANATION. Transitional movement from R (rest) to d (downwards); d to h (horizontal); h to e (elevated); e to z (zenith); z to e; e to h; h to d; d to n (nadir.) EXPLANATION. - Transitional movement from c (across the body); to f(forward); f to q (oblique); q to x (extended); x to b (backward); b to x; x to q; q to f; ƒ to c. In graceful UNIMPASSIONED delivery, the lines of preparation may be much more sweeping and varied; thus: EXERCISES ON GRACEFUL TRANSITIONS. -R to d; R to e; d to d; h to e; h to z; hx to hf; EXPLANATION. e to dc. xii. TRANSITIONAL MOVEMENTS OF THE ARMS. In STRONG PASSION, the preparations will be simple but extensive, and the accentual lines bold and straight; thus: EXERCISES ON PASSIONATE TRANSITIONS. de n-R EXPLANATION. —R to dc, rebounding to hc; d to h; d toe; h to d; ; to n. NOTE. For the motions of the left hand, follow the lines of the diagrams held before the eye; for those of the right hand, trace the lines as reflected in a mirror. DRILL BOOK. DEFINITIONS. ELOCUTION is the embodying form, or outward expression, of eloquence, dependent upon exterior accomplishments, and cultivation of the vocal organs. ELOQUENCE is the soul, or animating principle, of discourse, dependent upon intellectual energy and attainments. ORATORY is the complicated and vital existence, resulting from the perfect harmony and combination of elocution and eloquence. ELOCUTION, as a science, consists of rules for the just delivery of Eloquence. As an art, it is Oral Eloquence, or Oratory. We study elocution, to acquire every external grace and accomplishment with which the delivery of oral language should be accompanied, whether in reading, recitation, or extemporaneous discoursę. The exercises in the following pages are arranged: FIRST, with reference to “Physical Culture," SECOND, “Voice Culture," THIRD, “Expression." ANALYSIS OF PRINCIPLES. MANAGEMENT OF THE BODY, in Sitting, Standing, Gesture, and Use of the Breath. THE VOCAL ORGANS — Description and Use in Articulation. Gymnastic and calisthenic exercises are invaluable aids to the culture and development of the bodily organs, for purposes of vocalization. The organs of the voice require vigor and pliancy of muscle, to perform their office with energy and effect. Before proceeding to the vocal gymnastics, it is indispensable, almost, to practice a series of muscular exercises, adapted to the expansion of the chest, freedom of the circulation, and general vitality of the whole system. We suggest the following: First, stand firmly upon both feet, hands upon the hips, fingers in front, head erect, so as to throw the larynx directly over the wind-pipe, in a perpendicular line; bring the arms, thus adjusted, with hands pressed firmly against the waist, back and down, six times in succession; the shoulders will be brought down and back, head up, chest thrown forward. Keeping the hands in this position, breathe freely, filling the lungs to the utmost, emitting the breath slowly. Now bring the hands, clenched tightly, against the sides of the chest; thrust the right fist forward-keeping the head up and chest forward, whole body firm; bring it back, and repeat six times; left the same; then both fists; then right up six times; then left; then both; then right, down six times; left, the |