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PREFACE

TO THE FIRST EDITION.

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Elocution is a science and an art. When the art absorbs the science, naturalness will be the result, for "art at its highest and nature at its truest are one. Some professors of this noble art, when asked what method they use, simply reply: "We follow nature." If the question were put to us, our answer would be the We would, however, make our answer more definite by stating, that to follow nature, is not to follow individual whims and eccentricities, but to speak in a manner worthy of our subject and concordant to its sentiments. The venerable watch-word "Be Natural," thus resolves itself into "Speak Properly."

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Those that claim to be disciples of nature usually forget the scientific part of elocution, and, hence, discard all rules. Their entire theory consists of two words: "Be natural." We also say, by all means, be natural: But if there are no rules to teach us how to be natural. how can we acquire this open sesame to the grand domains of expression? How can we determine the line where nature ceases, and affectation begins? If there are no rules governing delivery, we can neither praise a speaker for the highest merits, nor censure him for the grossest defects. Happily, we have rules, which far from making us unnatural, guide us back to nature's paths from which we have deviated.

"Those rules of old discover'd not devised
Are Nature still, but Nature methodized:
Unerring nature, still divinely bright,
One clear, unchanged, and universal light,
Life, force, and beauty, must to all impart
At once the source, the end, and test of art;
Art from that fund each just supply provides,
Works without show and without pomp presides."

To state anew "those rules of old," in a comprehensive form, for the benefit of college students, is the object of the present volume. The principles laid down do not claim novelty as a recommendation. Like all principles, they derive their value not from their oldness or newness, but from their truth. They have stood the test of ages, and been the faithful guides of many eloquent speakers.

There are several text-books of elocution deserving high commendation, but they are only adapted to special schools of Elocution and Oratory, where hours each day may be devoted to the subject. They are also illsuited to the intellectual powers of beginners as they deal from the start in technicalities, philosophical analyses, etc.

It has been our object throughout to retain only essential theory, and even to condense that, to avoid tech. nical terms as far as may be, and to give copious choice examples.

All literature, we are justly told,

"Should to one of these four ends conduce:
For wisdom, piety, delight, or use."

Each of the four have many select representatives
throughout the volume. Most of our examples appear
for the first time in an elocution book.
chosen largely from Catholic sources.

They have been

We do not wisn,

thereby, to depreciate any of the noble names of literature, or rob them of deserved prominence. We only wish to remove writers of merit from cobwebbed shelves, where their beauties have too long been obscured by dust and silence. It is hoped that the tidbits given, while they delight the mind with their beauty and elevate and refresh it with wholesome truths, will also excite a craving for more. Hence, we have given, the names of works and authors. Only selections recommended by intrinsic worth should be memorized. Students should be required to seek additional examples from other sources. Turning the leaves of our popular readers at random they will be greeted by apt selections from Milton, Sir Walter Scott, Thackeray, Bulwer Lytton, Dickens, Ruskin, Longfellow, Macaulay, Tennyson, Webster, Clay, Burke, etc.

The arrangement of subjects in an elocution book is always attended with difficulties. As regards logical order, it resembles the alphabet. If G were placed before B, and Y besore C, the alphabet would not suffer. Before we can read well we must know all the letters, for Z sometimes precedes his extreme brother A, and O not seldom introduces the egotist, I. It is the same in elocution. Vocal elements that are treated last may enter a given selection earlier, and characterize it more than some treated in the fore-part of the book. Until they are all mastered, we cannot read well. If the arrangement we have given does not accord with any professor's views, it will be an easy task to change the order and take any section or chapter that expedience advises or circumstances require. As it stands, we suggest the following order:

I. Class, Breathing, Action, Articulation, and the simpler Gestures.

II. Class, Gesture, Force, and Delsarte's Laws of

Gesture.

III. Class, Pitch, Inflexion, Quality, and Planes of Gesture.

IV. Class, Emphasis, Gestures of Different Members, and Pause.

V. Class, The remainder of the book.

With all of these review, review, review.

Concert drills are recommended for economizing time and labor. In this way each student will receive some practice every class hour. It is only by practice skill may be acquired. A student may be able to tell you very accurately how a certain selection should be spoken and why it should be so rendered, but this will avail him but little as an orator, if he does not, by diligent practice, attain the power of doing it gracefully.

One selection mastered thoroughly is better than numberless ones imperfectly studied.

Class criticism may be employed to produce worthy emulation. It makes speaker and hearer vigilant. The book does not claim to be exhaustive or perfect.

"Whoever thinks a faultless piece to see,

Thinks what ne'er was, nor is, nor e'er shall be."

Hence, kindly criticism, for the improvement of future editions, will be gratefully received.

We acknowledge indebtedness to Maurice Francis Egan, LL. D., Rev. Alfred Young C. S. P., Eleanor C. Donnelly, and others for the generous permission granted us to quote from their writings.

If the principles herein laid down further the power of human speech, kindle the fires of eloquence slumbering in many a youthful bosom, give to College grad

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