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“Suit the action to the word, the word to the
action; with this special observance, that you
o'erstep not the modesty of nature; for any-
thing so overdone is from the purpose of
playing, whose end, both at the first and now,
was, and is, to hold, as 'twere, the mirror up
to nature; to show virtue her own feature,
scorn her own image and the very age and
body of the time, his form and pressure.”

Hamlet's Speech to the Players.

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اور آغا سارا

NOV 14 1899

2 Danny fund

Printed in Holland at the Motley Press.

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This small work is arranged in accordance with the method that I adopt in teaching Elocution, and is intended to assist the student in his daily practice.

In writing this little book I am indebted for much valuable information to the following works, and would here tender my thanks to the Authors and Publishers, many of whom have so kindly allowed me to quote from them.

The Mechanism of the Human Voice, by Emil Behnke, (Curwen & Sons). Voice, Song and Speech, by Dr. Lennox Browne and Emil Behnke, (S. Low & Co.). Voice Training Primer, by Mrs. Emil Behnke and Charles Pearce, (Chappell & Co.). Speaking Voice, Part I, by Mrs. Emil Behnke, (Curwen & Sons). Pronunciation for Singers, by the late Dr. A. J. Ellis, (Curwen & Sons). King's College Lectures on Elocution, by C. J. Plumptre, (Kegan Paul & Co.). Sounds of English, by Miss Soames, edited by W. Vietor, (Swan Sonnenschein & Co.). The Teacher's Method, by Miss Soames, edited by W. Vietor, (Swan Sonnenschein & Co.). Grammar of Elocution, by J. Millard, (Longmans & Co.). Blackie's Modern Cyclopædia, edited by Charles Annandale.

I would also express my thanks to Messrs. Longmans, Green & Co., to Messrs. George Routledge & Sons, and to Messrs. Macmillan & Co., for permission given to quote

poems or lines from poems published by them. Again I would gratefully acknowledge the kind assistance I have received from Mrs. Behnke, Sir George Grove, C.B., the Rev. H. Russell Wakefield and Dr. J. Browne, M.B., also from Messrs. Swan Sonnenschein & Co. who have allowed me to make use of the diagram of the vocal organs.

Want of space prevents me from dealing with the serious defects of the voice, but I should advise those who stammer to read the late Mr. Emil Behnke's work on this subject, to be obtained at 18 Earl's Court Square, W., from Mrs. Behnke.

R. I. P. 182 Holland Rd.,

Kensington, W.




Poetry, Rhythm. Metre. Head-Rhyme. Middle-Rhyme.

End-Rhyme. English Verse. Classic Verse. Accent.

Poetical Foot. Feet generally used in English Verse.

Hypermetric and Catalectic Feet. Stanza. Couplet.

Triplet Quatrain. Sextant, Ottava-Rima. Spenserian

Stanza. Alexandrine Verse. Heroic Measure. Blank

Verse. Trochaic Verse. Iambic Verse. Dactylic Verse.

Anapæstic Verse. Amphibrachic Verse. Examples


Lyric Poetry. The Ode. The Elegy. The Monody.

The Sonnet. Epic Poetry. The Metrical Romance.

The Ballad. Pastoral Poetry. The Idyll. Dramatic

Poetry. Descriptive Poetry. Didactic Poetry. Examples



Nose. Pharynx. Hard Palate. Soft Palate. Larynx.

Hyoid Bone. Epiglottis. Glottis. Rima Glottidis.

Vocal Ligaments. Arytenoid Cartilages. Thyroid Car-

tilage. Trachea or Windpipe. Gullet. The Mechanism

of Respiration and the Management of the Breath.

Breathing Exercises. The Production of Voice. The

Resonators. The Soft Palate



Inflections of the Voice. Modulation of the Voice.

Pause. The Rhetorical Pause. The Oratorical Pause.

The Emotional Pause. The Rhythmical Pause. Em.

phasis. Emphasis of Sense. Emphasis of Feeling.

Rate or Speed. Climax


English open Vowel-Sounds. Exercises on the open

Vowel-Sounds. Vowel-Sounds followed by R. Exer-

cises. English Shut Vowel-Sounds. Exercises. Diph-

thong Sounds. Exercises. Sentences and Extracts

containing the various Vowel-Sounds and Diphthong

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