Chapter XV: Part II: Readings and Recitations From the Most Celebrated Authors (1)

COMPRISING

THRILLING BATTLE SCENES AND VICTORIES; BEAUTIFUL DESCRIPTIONS; SOUL-STIRRING DEEDS OF HEROISM; WITTY AND HUMOROUS SELECTIONS; PATHETIC PIECES; FAMOUS ORATIONS; RECITATIONS FOR CHILDREN; READINGS WITH ACCOMPANIMENTS OF MUSIC; DRILLS; LESSON TALKS, ETC.

HOW TO READ AND RECITE.

Good readers and reciters are extremely rare, and it is because sufficient time and study are not devoted to the art of elocution. Not one educated man in ten can read a paragraph in a newspaper so effectively that to listen to him is a pleasure, and not a pain.

Many persons are unable so to express the words as to convey their meaning. They pervert the sense of the sentence by emphasizing in the wrong place, or deprive it of all sense by a monotonous gabble, giving no emphasis to any words they utter. They neglect the “stops,” as they are called; they make harsh music with their voices; they hiss, or croak, or splutter, or mutter—everything but speak the words set down for them as they would have talked them to you in conversation.

Why should this be? Why should correct reading be rare, pleasant reading rarer still, and good reading found only in one person in ten thousand? Let me urge you with all earnestness to become an accomplished reader and reciter. This is something to be coveted, and it is worth your while to acquire it, though it cost you much time and labor. Attend to the rules here furnished.

Cultivation of the Voice.

Accustom yourself to reading and reciting aloud. Some of our greatest orators have made it a practice to do this in the open air, throwing out the voice with full volume, calling with prolonged vowel sounds to some object in the distance, and thus strengthening the throat and lungs. Every day you should practice breathings; by which I mean that you should take in a full breath, expand the lungs to their full capacity, and then emit the breath slowly, and again suddenly with explosive force. A good, flexible voice is the first thing to be considered.

Distinct Enunciation.

When you hear a person read or speak you are always pleased if the full quantity is given to each syllable of every word. Only in this way can the correct meaning of the sentence be conveyed. People who are partially deaf will tell you that they are not always able to hear those who speak the loudest, but those who speak the most distinctly. Do not recite to persons who are nearest to you, but rather glance at those who are farthest away, and measure the amount of volume required to make them hear.

Emphasis.

Some word or words in every sentence are more important, and require greater emphasis than others. You must get at the exact meaning of the sentence, and be governed by this. The finest effects can be produced by making words emphatic where the meaning demands it. Look well to this.

Pauses.

Avoid a sing-song, monotonous style of delivery. Break the flow where it is required; you will always notice how skillfully a trained elocutionist observes the proper pauses. Have such command of yourself that you do not need to hurry on with your recitation at the same pace from beginning to end. The pause enables the hearer to take in the meaning of the words, and is therefore always to be observed.

Gestures.

Speak with your whole body, not merely with your tongue and lips. It is permissible to even stamp with your foot when the sense calls for it. Speak with your eyes, with your facial expression, with your fingers, with your clenched fist, with your arm, with the pose of your body, with all the varying attitudes needful to express what you have to say with the greatest effect.

Stand, as a rule, with one foot slightly in advance of the other, the weight of the body resting upon the foot farther back. Do not be tied to one position; hold yourself at liberty to change your position and move about. Do not hold your elbows close to your body, as if your arms were strapped to your sides. Make the gesture in point of time slightly in advance of the word or words it is to illustrate.

The Magnetic Speaker.

It has always been said that the poet is born, but the orator is made. This is not wholly correct, for the more magnetism you were born with, the better speaker you will become. Still, the indefinable thing called magnetism is something that can be cultivated; at least you can learn how to show it, and permit it to exert its wonderful influence over your hearers.

Put yourself into your recitations in such a way that the thoughts and sentiments you express shall, for the time being, be your own. Every nerve and muscle of your body, every thought and emotion of your mind, in short, your whole being should be enlisted. You should become transformed, taking on the character required by the reading or recitation, and making it your own.

Persons who can thus lose themselves in what they are saying, and throw into their recitations all the force and magnetism of which they are capable, are sure to meet with success.

Self-Command.

Young persons naturally feel embarrassed when they face an audience. Some of our greatest orators have known what this is, and were compelled to labor hard to overcome it. Practice alone will give you confidence, unless you possess it already, and this is true of only a few young persons.

Do your utmost to control yourself. Let your will come into play; strong will, governing every emotion of the mind and movement of the body, is absolutely essential. Do not be brazen, but self-confident.

TYPICAL GESTURES TO BE USED IN READING AND RECITING.

Traitors! I would call down the wrath of Heaven on them.]

Scorn points his slow, unmoving finger.]

There was silence deep as death,
And the boldest held his breath.]

Back to thy punishment, false fugitive,
And to thy speed add wings!]

I speak the truth, and dare to speak it.]

We proclaim the liberty that God gave when He gave us life.]

A sail, ho! A dim speck on the horizon.]

Angels and ministers of grace, defend us!]

Welcome the coming, speed the going guest.]

Methought I heard a voice cry, “Sleep no more!
Macbeth, does murder sleep?”]

Washington is in the clear upper sky.]

Be mute, be secret as the grave.]

While the dance was the merriest, the door opened and there stood the parson!]

Shall I take back my promise? ’Twill but expose me to contempt.]

O, that by weeping I could heal my sorrow!]

No pen, no tongue can summon power
To tell the transports of that hour.]

There stood Count Wagstaff, beckoning.]

It has come at last; I must say, No.]

Boy! Harold! safely rest,
Enjoy the honey-dew of slumber.]

My cup with agony is filled,
From nettles sharp as death distilled.]

Spirits of the just made perfect, from your empyrean heights look down!]

A lonely man, wending his slow way along and lost in deepest thought.]

Defy the devil; consider he is the enemy of mankind.]

Yes, if this were my last breath I would deny these infamous charges.]

Spain’s proud Armada was scattered to the winds.]

A thoughtless, wicked deed; it stings sharper than a serpent’s tooth.]

And Nathan said to David, Thou art the man.]

The way she kept it was, of course,
To tell it all and make it worse.]

1. Simple affirmation. 2. Emphatic declaration. 3. Apathy or prostration. 4. Energetic appeal. 5. Negation or denial. 6. Violent repulsion. 7. Indexing or cautioning. 8. Determination or anger. 9. Supplication. 10. Gentle entreaty. 11. Carelessness. 12. Argumentation. 13. Earnest entreaty. 14. Resignation.]

RECITATIONS WITH LESSON TALKS.

SHOWING BY EXAMPLES HOW TO READ AND RECITE.

THE SONG OF OUR SOLDIERS AT SANTIAGO.

When the destruction of Admiral Cervera’s fleet became known before Santiago, the American soldiers cheered wildly, and, with one accord, through miles of trenches, began singing “The Star Spangled Banner.” You should preface the recitation with the foregoing statement.

Singing “The Star Spangled Banner”
In the very jaws of death!
Singing our glorious anthem,
Some with their latest breath!
The strains of that solemn music
Through the spirit will ever roll,
Thrilling with martial ardor
The depths of each patriot soul.

2. Hearing the hum of the bullets!
Eager to charge the foe!
Biding the call to battle,
Where crimson heart streams flow!
Thinking of home and dear ones,
Of mother, of child, of wife,
They sang “The Star Spangled Banner”
On that field of deadly strife.

3. They sang with the voices of heroes,
In the face of the Spanish guns,
As they leaned on their loaded rifles,
With the courage that never runs,
They sang to our glorious emblem,
Upraised on that war-worn sod,
As the saints in the old arena
Sang a song of praise to God.

DAVID GRAHAM ADEE.

LESSON TALK.

This selection is inspiring. It is brimful of the glow of patriotism. To deliver it, therefore, in a dull, listless, indifferent manner would suppress the natural sentiment of the piece and rob it of the effect it would otherwise produce. Be _alive_; not wooden and nerveless. If you were standing in a crowd and a brass band should come along and strike up the “Star Spangled Banner,” you would instantly see the change that would come over the assembled throng. Every heart would be moved, every face would be filled with expression, every nerve would seem to tingle.

When you are to deliver a selection of this kind, come before your audience with your body straightened to its full height, your shoulders thrown back, and your head erect. For the time being you are a patriot, and are saying some grand things about the Stars and Stripes and about our brave heroes who have carried “Old Glory” to victory on so many battlefields.

Your manner must indicate that you appreciate their heroism, that you are ready to extol it, and that you expect your hearers to share the emotions of your own breast. You should know what tones of voice your are to employ in expressing most effectively the sentiments of the piece, what gestures should be used and what words are to be emphasized.

1. Taking now the first verse, you should let the tones of your voice out full and clear on the first line, lowering your voice on the second line; then letting your voice ring out again on the third line, and again subduing it on the fourth. Here is a fine opportunity for contrast between strong tones and tones subdued and suggestive of death. It would not be amiss to give the words “their latest breath” in a whisper. Prolong the sound on the word “roll.” The word “thrilling” should be expressed with energetic impulse, and the voice lowered, yet round and full, on the last line.

2. With hands elevated as high as the shoulders and palms turned outward, expressive of wonder and almost alarm, deliver the first line of the second verse. Suddenly change to confidence and courage in the next three lines. Express nothing here that could suggest timidity, but rather the opposite.

“Thinking of home and dear ones,
Of mother, of child, of wife,”

should be spoken in a thoughtful mood, with head dropped on breast; then lift it as you speak the two lines that follow, the last of which refers to the field of battle and should be designated, as in Figure 2 of Typical Gestures, found in the preceding pages.

3. At the beginning of verse three, elevate your voice and prolong the tones. The words “never runs” are emphatic; put stress on them. On the fifth and sixth lines of this verse use the gesture for Exaltation, Figure 11 of Typical Gestures—arm lifted as high as the head and palm opened upward, giving the arm at the same time a circular motion. The last two lines should be delivered with hands clasped, palm to palm, in front of the breast, and eyes turned upward.

THE VICTOR OF MARENGO.

Napoleon was sitting in his tent; before him lay a map of Italy. He took four pins and stuck them up; measured, moved the pins, and measured again. “Now,” said he, “that is right; I will capture him there!” “Who, sir?” said an officer. “Milas, the old fox of Austria. He will retire from Genoa, pass Turin, and fall back on Alexandria. I shall cross the Po, meet him on the plains of Laconia, and conquer him there,” and the finger of the child of destiny pointed to Marengo.

2. Two months later the memorable campaign of 1800 began. The 20th of May saw Napoleon on the heights of St. Bernard. The 22d, Lannes, with the army of Genoa, held Padua. So far, all had been well with Napoleon. He had compelled the Austrians to take the position he desired; reduced the army from one hundred and twenty thousand to forty thousand men; dispatched Murat to the right, and June 14th moved forward to consummate his masterly plan.

3. But God threatened to overthrow his scheme! A little rain had fallen in the Alps, and the Po could not be crossed in time. The battle was begun. Milas, pushed to the wall, resolved to cut his way out; and Napoleon reached the field to see Lannes beaten—Champeaux dead—Desaix still charging old Milas, with his Austrian phalanx at Marengo, till the consular guard gave way, and the well-planned victory was a terrible defeat. Just as the day was lost, Desaix, the boy General, sweeping across the field at the head of his cavalry, halted on the eminence where stood Napoleon.

4. There was in the corps a drummer-boy, a gamin whom Desaix had picked up in the streets of Paris. He had followed the victorious eagle of France in the campaigns of Egypt and Germany. As the columns halted, Napoleon shouted to him: “Beat a retreat!” The boy did not stir. “Gamin, beat a retreat!” The boy stopped, grasped his drum-sticks, and said: “Sir, I do not know how to beat a retreat; Desaix never taught me that; but I can beat a charge,—Oh! I can beat a charge that will make the dead fall into line. I beat that charge at the Pyramid: I beat that charge at Mount Tabor: I beat it again at the bridge of Lodi. May I beat it here?”

5. Napoleon turned to Desaix, and said: “We are beaten; what shall we do?” “Do? Beat them! It is only three o’clock, and there is time enough to win a victory yet. Up! the charge! beat the old charge of Mount Tabor and Lodi!” A moment later the corps, following the sword-gleam of Desaix, and keeping step with the furious roll of the gamin’s drum, swept down on the host of Austrians. They drove the first line back on the second—both on the third, and there they died. Desaix fell at the first volley, but the line never faltered, and as the smoke cleared away the gamin was seen in front of his line marching right on, and still beating the furious charge.

6. Over the dead and wounded, over breastworks and fallen foe, over cannon belching forth their fire of death, he led the way to victory, and the fifteen days in Italy were ended. To-day men point to Marengo in wonder. They admire the power and foresight that so skillfully handled the battle but they forget that a General only thirty years of age made a victory of a defeat. They forget that a gamin of Paris put to shame “the child of destiny.”

LESSON TALK.

A story or a narrative like this should be read in a more easy, conversational manner than is demanded for selections more tragic or oratorical. Yet a great variety of expression can be introduced into this piece, and without it, the reading will be tame.

1. In the first part of this verse spread your hands forward, then outward with the palms downward, to indicate the map of Italy which is lying before the great general. In a tone of triumph, accompanied with firmness and decision, Napoleon says, “I will capture him there.” Use the gesture for defiance, Figure 23, in Typical Gestures. Your body must be immediately relaxed as you ask the question, “Who, sir?” Let the answer be given with utterance somewhat rapid, still indicating firmness and decision.

2. This verse is easy narrative and should be recited as you would tell it to a friend in conversation. The words “masterly plan” in the last line are emphatic.

3. In the first line of this verse use the gesture shown in Figure 24 of Typical Gestures, indicating that Napoleon’s scheme was rejected by God and brought to nought. The style of narrative here is very concise and the sentences should follow one another in quick succession. “Milas, pushed to the wall,” should be expressed by Figure 4 of Typical Gestures. When you come to the words “the well-planned victory was a terrible defeat,” stretch forth your right arm as in Figure 6 of Typical Gestures, dropping it to your side heavily on the last word. Point to the boy general sweeping across the field and to the eminence where Napoleon stood. Champeaux is pronounced _Shon-po_; Desaix is pronounced _De-say_.

4. Here you drop again into easy narrative until you come to the words, “Beat a retreat!” These are to be shouted as if you were the officer on the battlefield giving the command. Put intense expression into the boy’s appeal, as he states that he does not know how to beat a retreat, and pleads to be permitted to beat a charge. There is opportunity here for grand effect as you deliver these lines.

5 and 6. Use the gesture for Defiance on the words, “Up! the charge!” You are ordering an advance, resolved to win the victory. The remainder of this verse and the following is narrative and demands quite a different rendering from the words of command in other parts of the selection. If you recite it in such a way as to express the full meaning it will captivate your hearers.

THE WEDDING FEE.

1. One morning, fifty years ago—
When apple-trees were white with snow
Of fragrant blossoms, and the air
Was spellbound with the perfume rare—
Upon a farm horse, large and lean,
And lazy with its double load,
A sun-brown youth and maid were seen
Jogging along the winding road

2. Blue were the arches of the skies,
But bluer were that maiden’s eyes!
The dewdrops on the grass were bright,
But brighter was the loving light
That sparkled ’neath each long-fringed lid,
Where those bright eyes of blue were hid;
Adown the shoulders, brown and bare,
Rolled the soft waves of golden hair.

3. So on they ride, until among
The new born leaves with dew-drops hung,
The parsonage, arrayed in white,
Peers out—a more than welcome sight.
Then with a cloud upon his face,
“What shall we do?” he turned to say,
“Should he refuse to take his pay
From what is in the pillow case?”

4. And glancing down his eyes surveyed
The pillow case before him laid,
Whose contents reaching to its hem,
Might purchase endless joys for them.
The maiden answers: “Let us wait;
To borrow trouble where’s the need?”
Then at the parson’s squeaking gate
Halted the more than willing steed.

5. Down from his horse the bridegroom sprung;
The latchless gate behind him swung.
The knocker of that startled door,
Struck as it never was before,
Brought the whole household, pale with fright,
And there with blushes on his cheek,
So bashful he could hardly speak,
The parson met their wondering sight.

6. The groom goes in, his errand tells,
And as the parson nods, he leans
Far out across the window-sill and yells—
“Come in. He says he’ll take the beans!”
Oh! how she jumped! With one glad bound
She and the bean-bag reached the ground.

7. Then, clasping with each dimpled arm
The precious products of the farm,
She bears it through the open door,
And down upon the parlor floor
Dumps the best beans vines ever bore.

8. Ah! happy were their songs that day,
When man and wife they rode away;
But happier this chorus still
Which echoed through those woodland scenes:
“God bless the priest of Whittensville!
God bless the man who took the beans.”

LESSON TALK.

The quiet humor of this piece stands in strong contrast to selections of a tragic character, and if it is recited in an easy pleasant way, it is sure to be appreciated by all who hear it. Adapt your voice and manner, therefore, to the style of narrative.

1. With the right hand extended designate the farm horse, large and lean. Drawl out the word lazy in the next line, and continue this slow utterance to the end of the verse.

2. The sentiment changes in the next verse and requires more animation. In the first line make the gesture shown in Figure 21 of Typical Gestures, in the beginning of Part II. of this volume. Become more animated as you describe the maiden’s eyes and the soft waves of her golden hair.

3. The young couple reach the parsonage and your manner should suggest theirs; they have come on very important business. Express the embarrassment of the young man as he asks the question: “What shall we do?” etc. Give a half look of surprise as you refer to the contents of the pillow-case.

4. In a half tone of rebuke the maiden answers, “Let us wait,” saying encouragingly that there is no need to borrow trouble. She evidently believes the parson will be quite willing to take the fee.

5. Let your utterance become more rapid as you picture the bridegroom springing from the horse. With uplifted, clenched hand knock on the door, and then portray the half fright of the parson as he answers the knock.

6. Here is an opportunity for a genuine touch of humor. Cry out as the young man would to the maiden by the gate, “Come in; he says he’ll take the beans!” She jumps to the ground. Make the gesture of Figure 16 in Typical Gestures.

7. Act out the effort of carrying the pillow-case through the open door and throwing it upon the parlor floor. Do not let your facial expression be too serious. You should know how to smile without looking silly.

8. Here again in the first line make the gesture in Figure 16, and with elevated pitch and joyous expression picture the young couple as they ride away. With fervent tones and uplifted hands recite the last two lines of the piece. A good recital for a parlor entertainment.

THE STATUE IN CLAY.

1. “Make me a statue,” said the King,
“Of marble white as snow;
It must be pure enough to stand
Before my throne, at my right hand;
The niche is waiting. Go!”

2. The sculptor heard the King’s command
And went upon his way;
He had no marble, but he meant,
With willing mind and high intent,
To mould his thoughts in clay.

3. Day after day he wrought in clay,
But knew not what he wrought;
He sought the help of heart and brain,
But could not make the riddle plain;
It lay beyond his thought.

4. To-day the statue seemed to grow,
To-morrow it stood still,
The third day all went well again;
Thus year by year, in joy and pain,
He served his master’s will.

5. At last his life-long work was done;
It was a fateful day;
He took the statue to the King,
And trembled like a guilty thing,
Because it was but clay.

6. “Where is my statue?” asked the King,
“Here, Lord,” the Sculptor said:
“But I commanded marble.” “True,
I had not that, what could I do
But mould in clay instead?”

7. “Thou shalt not unrewarded go
Since thou hast done thy best,
Thy statue shall acceptance win,
It shall be as it should have been,
For I will do the rest.”

8. He touched the statue, and it changed.
The clay falls off, and lo!
The marble shape before him stands,
The perfect work of heavenly hands,
An angel, pure as snow.

LESSON TALK.

The beautiful lesson taught in this selection is apparent to every one. In reciting it you have, therefore, the advantage of presenting a reading that commends itself to all hearers, the sentiment of which is admirable. The piece will speak for itself, and there is a vast difference between a reading of this description and one that has nothing specially to commend it.

And here let me say something concerning your choice of recitations. First of all, they should be adapted to your range of capacity. It is simply grotesque for one to whom only tragedy is natural to attempt to recite humorous pieces. On the other hand, it is a great mistake for one who is expert in nothing but humorous selections to attempt to recite tragedy.

The error with many readers lies in attempting to do that for which they are not naturally fitted. The selections in this volume are so diversified that you ought to be able to find what is especially suited to your ability.

Nothing is inserted here simply because it is good poetry or good prose. There are thousands of readings and recitations, so called, that do not afford the elocutionist any opportunity to display his powers. They are a dull monotony from beginning to end. They fill the pages of the book, but nobody wants them. Every recitation in this volume has been chosen because it has some special merit and is adapted to call out the powers of the reader.

1. Taking now the recitation before us you have in the first verse the King’s command, which you should deliver in a tone of authority, extending the right hand on the fourth line.

And this affords me an opportunity to say that your gestures should never be thrust forward or sideways in an angular manner, but with something approaching a curve. Do not make gestures as though you were a prize-fighter and were thrusting at an imaginary foe. Remember that the line of beauty is always the curve.

2. This verse is narrative and requires a different expression from the one preceding it. Extend your right hand on the second line in which it is stated that the sculptor went upon his way, curving your arm outward and then letting it fall gently by your side.

3. In this verse the sculptor is in perplexity. He is trying to study out the riddle, and to express this you should use Figure 22 of Typical Gestures.

4 and 5. These verses are also narrative, the only thing to be noted being the trembling timidity of the sculptor in the last part of the 5th verse. This should be indicated by the tones of your voice and general manner.

6. This is dialogue, and while the inflexions required are those of ordinary conversation, do not let your manner be too tame.

7. Make the announcement contained in this verse with evident satisfaction. The last line is emphatic and should be spoken with full volume.

8. Make a pause after the word statue in the first line and recite the remainder of this line in a tone of surprise. In the second line make the gesture in Figure 13 of Typical Gestures. Let your facial expression indicate satisfaction.

THE PUZZLED BOY.

1. “Well—whose boy am I, any way?
I fell down cellar yesterday,
And gave my head an awful bump
(If you had only seen the lump!)
And Mamma called me when I cried,
And hugged me close up to her side,
And said: ‘I’ll kiss and make it well,
Mamma’s own boy; how hard he fell.’

2. “When Papa took me out to play
Where all the men were making hay,
He put me on old Dobbin’s back;
And when they gave the whip a crack,
And off he threw me, Papa said,
(When I got up and rubbed my head,
And shut my lips, and winked my eyes)
‘Papa’s brave boy. He never cries!’

3. “And when I go to Grandma’s—well,
You’d be surprised if I could tell
Of all the pies and ginger-cakes
And doughnuts that she always makes,
And all the jam and tarts and such,
And _never_ says, ‘Don’t take too much;
Because,’ she says, ‘he must enjoy
His visit, for he’s Grandma’s boy!’

4. “And Grandpa says: ‘I’ll give him soon
A little pony for his own,
He’ll learn to ride it well, I know,
Because he’s Grandpa’s boy. Ho! ho!’
And plenty other people say;
‘Well, how are you, my boy, to-day?’
Now, can you tell me, if you try,
How many little boys _am I_?”

LESSON TALK.

This selection is in a lighter vein than the others that have gone before. It is adapted to a boy eight or ten years old. While the humor is not of a boisterous character, the piece is very pleasing when recited by a boy who knows how to take in the situation and can put on a look of natural surprise.

Recitations by little people are always interesting to older persons. The young should be taught to recite in public. While this need not make them bold, it does give them confidence, which is very desirable for them to have.

Moreover, it helps them to become graceful in manner if they are properly trained, and takes away the awkwardness which makes many young persons appear to a disadvantage. Added to all this the cultivation of the memory derived from learning recitations, and learning them so thoroughly that they cannot be forgotten through any temporary embarrassment, and you will readily see that the noble art of elocution is an essential part of every young person’s education.

The selection before us is not a difficult one to recite. In the first verse emphasis should be placed on the word “am,” and the question should be asked in a tone of surprise. Put your hand to your head in speaking of that “awful bump.”

In the next verse lift your right hand with a sudden motion and use any gesture with which you can best indicate the cracking of the whip. When you come to the words “off he threw me,” use the gesture in Figure 24 of Typical Gestures. Emphasize the word “he” in the last line.

In verse three open your eyes in half wonder and put on an expressive smile as you speak of grandma’s pies, cakes, doughnuts, tarts, etc. Make it plain that you enjoy your visit to grandma’s.

With elevated voice and accents of delight refer to the gift of the little pony in the last verse. Speak the first “ho!” rather quickly; then prolong the sound on the second “ho!” In the last line the words “am I?” are emphatic. You are puzzled to know how many little boys you are. Pause a moment and look as if expecting an answer.

RECITATIONS WITH MUSIC.

Nothing renders a recitation more acceptable to any audience than snatches of music, some of the words being sung, if the reader has a voice for singing. The change from reciting to singing should be made easily, and you should be fully confident that you can carry through the part to be expressed by the notes of music, and sing the words effectively.

This will require practice, but will repay you for the time spent in preparation. Selections for song and recital combined are here presented, which cannot fail to captivate your audience if they are skillfully rendered.

TWICKENHAM FERRY.

The words to be sung, or that should receive the prolonged sound indicated by the notes, are printed in italics. Remember you are calling to some one in the distance.

[Music]

1.

“_O-hoi ye-ho, Ho-ye-ho, Who’s for the ferry?_
The briars in bud, the sun is going down,
And I’ll row ye so quick and I’ll row ye so steady,
And ’tis but a penny to Twickenham Town.”

The ferryman’s slim and the ferryman’s young,
And he’s just a soft twang in the turn of his tongue,
And he’s fresh as a pippin and brown as a berry,
And ’tis but a penny to Twickenham Town.
_O-hoi ye-ho, Ho-ye-ho, Ho-ye-ho, Ho._

2.

“_O-hoi ye-ho, Ho-ye-ho, I’m for the ferry_,
The briars in bud, the sun going down,
And it’s late as it is, and I haven’t a penny,
And how shall I get me to Twickenham Town?”
She’d a rose in her bonnet, and oh! she look’d sweet
As the little pink flower that grows in the wheat,
With her cheeks like a rose and her lips like a cherry,
“And sure and you’re welcome to Twickenham Town.”
_O-hoi ye-ho, Ho-ye-ho, Ho-ye-ho, Ho._

3.

_O-hoi ye-ho, Ho, you’re too late for the ferry_,
The briars in bud, the sun going down,
And he’s not rowing quick and he’s not rowing steady,
You’d think ’twas a journey to Twickenham Town.
“_O hoi, and O ho_,” you may call as you will,
The moon is a rising on Peterham Hill,
And with love like a rose in the stern of the wherry,
There’s danger in crossing to Twickenham Town.
_O-hoi ye-ho, Ho-ye-ho, Ho-ye-ho, Ho._

[Music]

GRANDMOTHER’S CHAIR.

The words to be sung are printed in italics.

[Music]

My grandmother she, at the age of eighty-three,
One day in May was taken ill and died;
And after she was dead, the will of course was read,
By a lawyer as we all stood by his side.
Five hundred dollars to my brother did she leave,
The same unto my sister, I declare;
But when it came to me, the lawyer said, “I see
She has left to you her old arm chair.”

_And how they tittered, how they chaffed,_
_How my brother and sister laughed,_
_When they heard the lawyer declare_
_Granny had only left to me her old arm chair._

I thought it hardly fair, still I said I did not care,
And in the evening took the chair away;
The neighbors they me chaffed, my brother at me laughed,
And said it will be useful, John, some day:
When you settle down in life, find some girl to be your wife,
You’ll find it very handy, I declare;
On a cold and frosty night, when the fire is burning bright,
You can then sit in your old arm chair.

What my brother said was true, for in a year or two,
Strange to say, I settled down in married life;
I first a girl did court, and then the ring I bought,
Took her to the church, and when she was my wife,
The girl and I were just as happy as could be,
For when my work was over, I declare,
I ne’er abroad would roam, but each night would stay at home,
And be seated in my old arm chair.

One night the chair fell down; when I picked it up I found
The seat had fallen out upon the floor;
And there to my surprise I saw before my eyes,
Ten thousand dollars tucked away, or more.
When my brother heard of this, the fellow, I confess,
Went nearly mad with rage, and tore his hair;
But I only laughed at him, then said unto him, “Jem,
Don’t you wish you had the old arm chair?”

JOHN READ.

[_Repeat words with music._]

PUT YOUR SHOULDER TO THE WHEEL.

The words to be sung are in italics.

[Music]

Some people you’ve met in your time, no doubt,
Who never look happy or gay;
I’ll tell you the way to get jolly and stout,
If you’ll listen awhile to my lay.
I’ve come here to tell you a bit of my mind,
And please with the same, if I can;
Advice is my song, you will certainly find,
And a motto for every man.

_So we will sing, and banish melancholy;_
_Trouble may come, we’ll do the best we can_
_To drive care away, for grieving is a folly;_
_Put your shoulder to the wheel is a motto for ev’ry man._

We cannot all fight in this battle of life,
The weak must go to the wall;
So do to each other the thing that is right,
For there’s room in this world for us all.
“Credit refuse,” if you’ve money to pay,
You’ll find it the wiser plan;
And “a dollar laid by for a rainy day,”
Is a motto for every man.

A coward gives in at the first repulse;
A brave man struggles again,
With a resolute eye and a bounding pulse,
To battle his way amongst men;
For he knows he has only one chance in his time
To better himself, if he can;
“So make your hay while the sun doth shine,”
That’s a motto for every man.

HARRY CLIFTON.

[_Repeat the part to be sung._]

A BRIGHTER DAY IS COMING.

The words in italics are to be sung.

[Music]

“Tired,” ah, yes, so tired, dear, the day has been very long,
But shadowy gloaming draweth near, ’tis time for the even song.
I’m ready to go to rest at last, ready to say, “Good night;”
The sunset glory darkens fast, to-morrow will bring me light.

_Sing once again, “Abide with me” that sweetest evening hymn,_
_And now “Good night,” I cannot see, the light has grown so dim._
_“Tired” ah, yes, so tired, dear, I shall soundly sleep to-night,_
_With never a dream, and never a fear, to wake in the morning’s light._

It has seemed so long since morning tide, and I have been left so lone,
Young, smiling faces thronged my side when the early sunlight shone,
But they grew tired long ago, and I saw them sink to rest,
With folded hands and brows of snow, on the green earth’s mother breast.

HELEN BURNSIDE.

[_Repeat the words with music._]

KATY’S LOVE LETTER.

Sing the words printed in italics.

[Music]

Och, girls dear, did you ever hear, I wrote my love a letter.
And although he cannot read, sure I thought ’twas all the better;
For why should he be puzzled with hard spelling in the matter,
When the meaning was so plain that I love him faithfully?

_I love him faithfully,_
_And he knows it, oh, he knows it, without one word from me._

I wrote it, and I folded it, and put a seal upon it;
’Twas a seal almost as big as the crown of my best bonnet;
For I would not have the Postmaster make his remarks upon it,
As I said inside the letter that I loved him faithfully,

_I love him faithfully,_
_And he knows it, oh, he knows it! without one word from me._

My heart was full, but when I wrote, I dared not put the half in,
The neighbors know I love him, and they’re mighty fond of chaffing;
And I dared not write his name outside, for fear they would be laughing,
So I wrote, “From little Kate to one whom she loves faithfully.”

_I love him faithfully,_
_And he knows it, oh, he knows it! without one word from me._

Now, girls, would you believe it, that Postman, so consaited,
No answer will he bring me, so long as I have waited;
But maybe there isn’t one for the raison that I stated,
That my love can neither read nor write, but he loves me faithfully.

_He loves me faithfully,_
_And I know where’er my love is, that he is true to me._

LADY DUFFERIN.

DOST THOU LOVE ME, SISTER RUTH?

A COMIC DUET.

The persons who present this recital should appear in Quaker costume and stand near each other, face to face. It can be made very amusing. The change from reciting to singing adds greatly to the effect. Sing the words in italics, and make appropriate gestures.

[Music]

1. SIMON.—Dost thou love me, Sister Ruth?
Say, say, say!

RUTH.—As I fain would speak the truth,
Yea, yea, yea.

SIMON.—_Long my heart hath yearned for thee,_
_Pretty Sister Ruth;_

RUTH.—_That has been the case with me,_
_Dear engaging youth._

2. SIMON.—Wilt thou promise to be mine,
Maiden fair?

RUTH.—Take my hand, my heart is thine,
There, there, there. [_Salutes her._]

SIMON.—_Let us thus the bargain seal._
_O, dear me, heigh-ho!_

RUTH.—_Lauk! how very odd I feel!_
_O, dear me, heigh-ho!_

3. SIMON.—Love like ours can never cloy,
Humph! humph! humph!

RUTH.—While no jealous fears annoy,
Humph! humph! humph!

SIMON.—_O, how blessed we both should be,_
_Hey down, ho down, hey!_

RUTH.—_I could almost dance with glee,_
_Hey down, ho down, hey!_

JOHN PARRY.

TWO LITTLE ROGUES.

[Music]

Says Sammy to Dick,
“Come, hurry! come quick!
And we’ll do, and we’ll do, and
we’ll do!
Our mammy’s away,
She’s gone for to stay,
And we’ll make a great hullabaloo!
_Ri too! ri loo! loo! loo! loo! loo!_
_We’ll make a great hullabaloo!_”

Says Dick to Sam,
“All weddy I am
To do, and to do, and to do,
But how doesth it go?
I so ’ittle to know,
That, what be a hullabawoo?
_Ri too! ri loo! woo! woo! woo! woo!_
_Thay, what be a hullabawoo?_”

“Oh, slammings and bangings,
And whingings and whangings;
And very bad mischief we’ll do!
We’ll clatter and shout,
And knock things about,
And that’s what’s a hullabaloo!
_Ri too! ri loo! loo! loo! loo! loo!_
_And that’s what’s a hullabaloo!_

“Slide down the front stairs!
Tip over the chairs!
Now into the pantry break through!
Pull down all the tin-ware,
And pretty things in there!
All aboard for a hullabaloo!
_Ri too! ri loo! loo! loo! loo! loo!_
_All aboard for a hullabaloo!_

“Now roll up the table,
Far up as you are able,
Chairs, sofa, big easy-chair too!
Put the lamps and the vases
In funny old places.
How’s this for a hullabaloo?
_Ri too! ri loo! loo! loo! loo! loo!_
_How’s this for a hullabaloo?_

“Let the dishes and pans
Be the womans and mans;
Everybody keep still in their pew;
Mammy’s gown I’ll get next,
And preach you a text.
Dick! hush with your hullabaloo!
_Ri too! ri loo! loo! loo! loo! loo!_
_Dicky! hush with your hullabaloo!_”

As the preacher in gown
Climbed up and looked down,
His queer congregation to view,
Said Dicky to Sammy,
“Oh, dere comes our mammy!
She’ll ’pank for dis hullubawoo!
_Ri too! ri loo! woo! woo! woo! woo!_
_She’ll ’pank for dis hullabawoo!_

“O mammy! O mammy!”
Cried Dicky and Sammy,
“We’ll never again, certain true!”
But with firm step she trod
To take down the rod—
Oh, then came a hullabaloo!
_Bo hoo! bo hoo! woo! woo! woo! woo!_
_Oh, then came a hullabaloo!_

MRS. A. M. DIAZ.

ARKANSAW PETE’S ADVENTURE;

ARKANSAW PETE, a frontier-backwoodsman, who sings the solo. CHORUS, three lively city gentlemen.

[Music]

[Music]

1. Now ladies and gents, who here I see,
Snap-poo!
I pray you listen unto me,
Snap-poo!
And I’ll relate what came to pass
when I lived down in Ar-kan-sas,
Snap-poo! Snap-Peter!
Fi-lan-thi-go-shee-ter!
Snap-poo!

2. While riding home one Saturday night,
Snap-poo!
I passed Miss Smith’s and thought I’d light,
Snap-poo!
So I hitch’d my hoss and in did go,
Just for to spend an hour or so.

CHORUS (_marching up and down, and snapping fingers at PETE_).

Snap-poo! Snap-Peter!
Fi-lan-thi-go-shee-ter!
Snap-poo! (_Repeat chorus._)

3. When to the door I had safely got,
Snap-poo!
She came and pok’d her sweet head out,
Snap-poo!
Said she right out, “Why, Mister Pete!
Oh, do walk in and have a seat!”

(CHORUS.)

4. With easy step and a jolly heart,
Snap-poo!
I bounded in just like a dart,
Snap-poo!
And, oh, you may bet, I felt all hunk
When into a chair by her I sunk.

(CHORUS.)

5. Our chairs got closer as we two rock’d,
Snap-poo!
My throat swell’d up till I most chok’d,
Snap-poo!
At length they struck, and came to a stop—
Now, now, thinks I,’s the time to “pop!”

(CHORUS.)

6. I tried to look in her love-lit eyes,
Snap-poo!
They were clear and blue as summer skies,
Snap-poo!
Not a word could I speak—alas! poor Pete!
Though she look’d good enough to eat.

(CHORUS.)

7. I look’d at her, and she look’d at me,
Snap-poo!
I heard my heart say pee-dee-dee,
Snap-poo!
I twisted my chair, and cross’d my feet—
I’d never seen anything half so sweet.

(CHORUS.)

8. My tongue grew thick, and my eyes stuck out,
Snap-poo!
My hands flew nervously about,
Snap-poo!
And, before I could their motion check,
They grabb’d that gal right ’round the neck!

(CHORUS.)

9. She haul’d away with her pretty fist,
Snap-poo!
She gave my jaw an awful twist,
Snap-poo!
It seem’d an hour before I spoke—
I thought by gum, my head was broke!

(CHORUS.)

10. The racket we made brought her ma-ma,
Snap-poo!
Who straightway call’d her great pa-pa,
Snap-poo!
He kicked me out—and, you bet, I fled
That gal won’t do, thinks I, to wed!

(CHORUS.)

PATRIOTIC RECITATIONS.

THE BEAT OF THE DRUM AT DAYBREAK.

Speak the words in italics with full, earnest tones of command. Then change easily to a manner suited to animated description. An excellent selection for one who can make these changes effectively.

The morning is cheery, my boys, arouse!
The dew shines bright on the chestnut boughs,
And the sleepy mist on the river lies,
Though the east is flushing with crimson dyes.
_Awake! awake! awake!_
O’er field and wood and brake,
With glories newly born,
Comes on the blushing morn.
_Awake! awake!_

You have dreamed of your homes and your friends all night;
You have basked in your sweethearts’ smiles so bright:
Come, part with them all for a while again—
Be lovers in dreams; when awake, be men.

_Turn out! turn out! turn out!_
You have dreamed full long I know,
_Turn out! turn out! turn out!_
The east is all aglow.
_Turn out! turn out!_

From every valley and hill there come
The clamoring voices of fife and drum;
And out on the fresh, cool morning air
The soldiers are swarming everywhere.
_Fall in! fall in! fall in!_
Every man in his place.
_Fall in! fall in! fall in!_
Each with a cheerful face.
_Fall in! fall in!_

MICHAEL O’CONNOR.

THE CAVALRY CHARGE.

Admirably suited to rapid utterance, vivid description and full tones on an elevated key. Hurrah in the last lines as you would if you saw the enemy routed on the field of battle.

With bray of the trumpet
And roll of the drum,
And keen ring of bugles,
The cavalry come,
Sharp clank the steel scabbards,
The bridle-chains ring,
And foam from red nostrils
The wild chargers fling.

Tramp! tramp! o’er the green sward
That quivers below,
Scarce held by the curb-bit,
The fierce horses go!
And the grim-visaged colonel,
With ear-rending shout,
Peals forth to the squadrons,
The order—“Trot out.”

One hand on the sabre,
And one on the rein,
The troopers move forward
In line on the plain.
As rings the word “Gallop!”
The steel scabbards clank,
And each rowel is pressed
To a horse’s hot flank:
And swift is their rush
As the wild torrent’s flow,
When it pours from the crag
On the valley below.

“Charge!” thunders the leader.
Like shaft from the bow
Each mad horse is hurled
On the wavering foe.
A thousand bright sabres
Are gleaming in air;
A thousand dark horses
Are dashed on the square.

Resistless and reckless
Of aught may betide,
Like demons, not mortals,
The wild troopers ride.
Cut right! and cut left!
For the parry who needs?
The bayonets shiver
Like wind-shattered reeds!

Vain—vain the red volley
That bursts from the square—
The random-shot bullets
Are wasted in air.
Triumphant, remorseless,
Unerring as death,—
No sabre that’s stainless
Returns to its sheath.

The wounds that are dealt
By that murderous steel
Will never yield case
For the surgeons to heal
Hurrah! they are broken—
Hurrah! boys, they fly—
None linger save those
Who but linger to die.

THE GREAT NAVAL BATTLE OF SANTIAGO.

Hold your body erect, but not awkwardly stiff, let every nerve be tense, your voice full and round, and let your manner indicate that you have a grand story to relate, as you recite Admiral Schley’s thrilling description of the great naval battle at Santiago. You are depicting the scene as though you were there and yourself won the brilliant victory.

One hour before the Spaniards appeared my quartermaster on the
Brooklyn reported to me that Cervera’s fleet was coaling up. This
was just what I expected, and we prepared everything for a hot
reception. Away over the hills great clouds of smoke could be
faintly seen rising up to the sky. A little later and the smoke
began to move towards the mouth of the harbor. The black cloud
wound in and out along the narrow channel, and every eye on board
the vessels in our fleet strained with expectation.

The sailor boys were silent for a full hour and the grim old
vessels lay back like tigers waiting to pounce upon their prey.
Suddenly the whole Spanish fleet shot out of the mouth of the
channel. It was the grandest spectacle I ever witnessed. The
flames were pouring out of the funnels, and as it left the
channel the fleet opened fire with every gun on board. Their
guns were worked as rapidly as possible, and shells were raining
around like hail.

It was a grand charge. My first impression was that of a lot
of maddened bulls, goaded to desperation, dashing at their
tormentors. The storm of projectiles and shells was the hottest
imaginable. I wondered where they all came from. Just as the
vessels swung around the Brooklyn opened up with three shells,
and almost simultaneously the rest of the fleet fired. Our volley
was a terrible shock to the Spaniards, and so surprised them that
they must have been badly rattled.

When our fleet swung around and gave chase, we not only had to
face the fire from the vessels, but were bothered by a cross-fire
from the forts on either side, which opened on our fleet as soon
as the Spaniards shot out of the harbor. The engagement lasted
three hours, but I hardly knew what time was. I remember crashing
holes through the Spanish Admiral’s flagship, the Maria Teresa,
and giving chase to the Colon.

I was on the bridge of the Brooklyn during the whole engagement,
and at times the smoke was so dense that I could not see three
yards ahead of me. The shells from the enemy’s fleet were
whistling around and bursting everywhere, except where they could
do some damage. I seemed to be the only thing on the vessel not
protected by heavy armor, and oh! how I would have liked to get
behind some of that armor!

I don’t know how I kept my head, but I do know that I surprised
myself by seeing and knowing all that was going on, and I could
hear my voice giving orders to do just what my head thought was
right, while my heart was trying to get beneath the shelter of
the armored deck. How do I account for such a victory with so
little loss? That would mean how do I account for the rain of
Spanish shell not doing more execution? They fought nobly and
desperately, but they were not a match for our Yankee officers
and sailors.

I was proud of the boys in our fleet during that engagement.
They knew just what their guns could do, and not one shot was
wasted. Their conduct was wonderful. It was inspiring. It was
magnificent. Men who can stand behind big guns and face a black
storm of shells and projectiles as coolly as though nothing was
occurring; men who could laugh because a shell had missed hitting
them; men who could bet one another on shots and lay odds in the
midst of the horrible crashing; men who could not realize that
they were in danger—such men are wonders, and we have a whole
navy of wonders.

ADMIRAL W. S. SCHLEY.

HOBSON’S DARING DEED.

Let your tones of voice be strong and bold, not boisterous, and give to the most spirited lines full force. You are depicting a daring deed, and it must not be done in a weak, timid, hesitating way, but with strong utterance and emphasis. The sinking of the steam collier Merrimac was a famous exploit.

Thunder peal and roar and rattle of the ships in line of battle,
Rumbling noise of steel volcanoes hurling metal from the shore,
Drowned the sound of quiet speaking and the creaking, creaking, creaking
Of the steering-gear that turned her toward the narrow harbor door.

On the hulk was calm and quiet, deeper for the shoreward riot;
Dumb they watched the fountain streaming; mute they heard the waters
hiss,
Till one laughed and murmured, “Surely it was worth while rising early
For a fireworks exhibition of such character as this.”

Down the channel the propeller drove her as they tried to shell her
From the dizzy heights of Morro and Socapa parapet;
She was torn and she was battered, and her upper works were shattered
By the bursting of the missiles that in air above her met.