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THE NEW YORK
1977, VOX AND
“All art must be preceded by a certain mechanical Experiness."
YTAND OR SIT IN A GOOD POSITION. Body upright, chest ex
2. HOLD THE BOOK PROPERLY. Support the book in the left hand, with three fingers underneath,—the thumb and little finger extended above to keep the leaves down. Elbow free from the body, and forearm elevated at an angle of thirty to fortyfive degrees.
3. BREATHE BEFORE THE LUNGS ARE EMPTY OF AIR, and before necessity or fatigue forces the lungs to respire too great a volume at once.
4. KEEP THE EYE AND MIND IN ADVANCE OF THE TONGUE. That is, look ahead on the page, and see and understand clearly what you are going to say, before you speak.
5. THINK THE THOUGHTS AND FEEL THE EMOTIONS. Unless this is done the reading will be as profitless to the reader as it is dry, mechanical, and meaningless to the hearer.
6. BE IN EARNEST. Always throw yourself into the spirit of what you read, and try to do your best.
7. MAKE YOURSELF HEARD, UNDERSTOOD, AND FELT. To do this, however, do not overstrain the voice nor pitch its tones too high. Be correct but not over-nice in the enunciation. Do not mistake theatrical bluster for expressive reading.
8. LISTEN TO OTHERS. Give strict attention while others are reading, and try particularly to see wherein they do well. You will thus gradually make their merits your own.
9. STUDY THE READING LESSON. Prepare your reading exercise as carefully as you would for a recitation in history or geography. It is a mistake to suppose that the productions of the great masters of thought and expression can be read properly without such study.
ESSENTIAL POINTS IN PRACTICE.
I. Pleasant Quality of Tone. THE HE tone of voice in ordinary reading should be sweet,
musical, and sprightly. Practice the following examples for the cultivation of such a tone. Read as a person naturally speaks when in a happy, buoyant state of mind.
1. Give us, 0 give us, the man who sings at his work! He will do more in the same time,-he will do it better,—he will persevere lònger. One is scarcely sènsible of fatigue whilst he marches to músic. The very stàrs are said to make hàrmony as they revolve in their spheres. Wondrous is the strength of chèerfulness, altogether past calculation its powers of endurance. Efforts, to be permanently useful, must be uniformly joyous, a spirit all sùnshine, graceful from very gladness, beautiful because bright.
2. What hò, my jovial mates! come on! we'll frolic it
Like fairies frisking in the merry moonshine!
3. There is nothing like fùn, is there? I have n't any myself, but I do like it in others. O, we need it! We need all the counterweights we can muster to balance the sàd relations of life. God has made sunny spots in the heart; why should we exclude the light from them?
4. Hamelin Town's in Brunswick,
The river Wèser, deep and wide,
A pleasanter spot you never spied;
Almost five hundred years ago,
To see the townsfolk suffer so
5. Insects generally must lead a jovial life. Think what it inust be to lodge in a lily. Imagine a palace of ivory and pearl, with pillars of silver and capitals of gold, and exhaling such a perfume as never arose from human cènser. Fancy again the fun of tucking one's self up for the night in the folds of a ròse, rocked to sleep by the gentle sighs of summer àir, nothing to do when you awake but to wash yourself in a déw-drop, and fall to eating your bedclothes.
6. There's a good time coming, boys,
A good time coming :
Of the good time coming.
But thought's a weapon stronger;
Wait a little longer.
II. Articulation. Having made sure of a pleasant quality of voice, the pupil may next give his attention to cutting out his words with neatness and precision. Open the mouth sufficiently, and put life into the action of the jaw, tongue, and lips. Pupils who have a tendency to mumbling indistinctness—and it is a good exercise for all-should exaggerate the movement of the organs of articulation, working the muscles of the mouth with extreme but elastic motions. The words may be practiced one at a time; then in phrases; then in complete sentences,-slowly at first, afterwards with increasing rapidity. When perfection is attained there will be no excessive movements,-nothing to interfere with a becoming expression of the features.
1. Lovely art thou, O Péace! and lovely are thy children, and lovely are the prints of thy footsteps in the green valleys.
2. Steel clanging sounded on steel. Hèlmets are cleft on hìgh; blòod bursts and smokes around. As the troubled noise of the òcean when roll the waves on high; as the last peal of the thunder of heaven; such is the noise of bàttle.
3. Like leaves on trèes the life of man is found,
Now green in youth, now withering on the ground;
4. To an American visiting Europe, the long voyage he has to make is an excellent preparative. From the moment you lose sight of the land you have left, all is vàcancy until you step on the opposite shore, and are launched at once into the bustle and novelties of another world.
5. What wak'st thou, Spring ?-Sweet voices in the woods,
And reed-like echoes, that have long been mùte;
The làrk's clear pipe, the cùckoo's viewless flute,
Even as our hèarts may be.
6. In looking forward to future life, let us recollect that we have not to sustain all its toil, to endure all its sufferings, or encounter all its crosses, at once. One moment comes laden with its own little burden, then flies, and is succeeded by another no heavier than the làst: if one could be sustained, so can another, and another.