The American Union Speaker Part 1

The American Union Speaker.

by John D. Philbrick.

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 pa.s.sing 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 ill.u.s.trations of the statesmanship of the crisis. Sumner exposes the origin and mainspring of the rebellion, Dougla.s.s strips off its pretext, Everett paints its crime, Boutwell boldly proclaims its remedy in emanc.i.p.ation, and Banks p.r.o.nounces 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 grat.i.tude 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 cla.s.s, 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 n.o.blest 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 inst.i.tutions, 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 amus.e.m.e.nt to his cla.s.smates, 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 a.n.a.lytically exemplified by the teacher, and practised by the pupil, in the reading or recitation of short pa.s.sages in which they are well ill.u.s.trated, 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 a.s.sume 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:--"Att.i.tude 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 const.i.tutions 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 unsurpa.s.sed 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 p.r.o.nunciation.

This is what const.i.tutes 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 ma.s.s 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 cla.s.ses 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 const.i.tute 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 p.r.o.nounced 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 p.r.o.nunciation 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.

p.r.o.nounce 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 p.r.o.nouncing 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 p.r.o.nounced 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 compa.s.s, 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 cla.s.s 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 pa.s.sed into a proverb. How he was accustomed to run up the steepest hills, and to declaim on the sea-sh.o.r.e, 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, p.r.o.nouncing 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 quant.i.ty 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."

COMPa.s.s. 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 compa.s.s. Webster's voice was remarkable for the extent of its compa.s.s, 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 compa.s.s 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 s.p.a.ce 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.