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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,

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Against Whipping in the Navy. Commodore Stockton.
Alexander Ypsilanti.

230

217

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Charge of the Light Brigade, The. Alfred Tennyson..

170

Christmas Party at Scrooge's Nephew's, The. Charles Dickens 211

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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.

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Owl and the Bell, The. George Macdonald .
Owl Critic, The. J. T. Fields

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
Sweet and Low. Alfred Tennyson.

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224

213

N. Y. Tribune

Bible.

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Two Views of Christmas. Charles Dickens.
Wind and the Moon, The. George Macdonald .

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.

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