66 Ex. I. "Start" of the Tone, Ex. II. "Start" of the Tone, Ex. III. "Start" of the Tone, Ex. IV. For Speaking without Waste of Breath, Ex. V. For Forward Placing of the Voice, Volume, . Vowels, The,. Windpipe, The, 13 75, 76 40 42 44 46, 55, 62, 68, 70, 81, 90 41 Against Whipping in the Navy. Commodore Stockton. 230 217 Charge of the Light Brigade, The. Alfred Tennyson.. 170 Christmas Party at Scrooge's Nephew's, The. Charles Dickens 211 Fox at the Point of Death, The. John Gay. 186 Hamlet's Instruction to the Players. Shakespeare.. 168 Hervé Riel. Robert Browning. 226 Incident of the French Camp. 191 Langley Lane. Robert Buchanan 183 Leper, The. N. P. Willis. 187 Little Stowaway, The . 199 Man in the Moon, The. James Whitcomb Riley. Owl and the Bell, The. George Macdonald . Palmer's Vision, The. J. G. Holland. Plain Tale of 1893, A. Portia's Speech on Mercy. Shakespeare Reading for the Thought. John Ruskin. Scene from "Julius Cæsar." Shakespeare Scene from "The Rivals." Richard Brinsley Sheridan Star-Spangled Banner, The. F. S. Key. Supporting the Guns. Detroit Free Press 202 224 213 N. Y. Tribune Bible. 207 195 167 Two Views of Christmas. Charles Dickens. 209 174 ELOCUTION AND ACTION. LESSON I. The Speaker's Position. The best position for the speaker is that in which he can speak or read effectively for the longest time with the greatest ease, and which, at the same time, allows the greatest freedom of movement. A speaker in a constrained position is always more or less embarrassed, because his attention is called continually to unpleasant sensations in his hands, feet, or head, as the case may be; on the other hand, a comfortable position puts both speaker and audience at ease. Without a correct and graceful position the gestures will be awkward and unnatural, and the voice will be constrained; therefore, it is necessary to acquire this first of all. 11 |