The Canadian Elocutionist | Page 5

have ever heard. It was wonderful how distinctly her voice was heard all over the hall, though apparently making no effort. She was applauded with enthusiasm.
CHAPTER I.
PHYSICAL CULTURE.
Gymnastic and calisthenic exercises are invaluable aids to the culture and development of the bodily organs, for purposes of vocalization.
The organs of the voice require vigour and pliancy of muscle, to perform their office with energy and effect.
Before proceeding to the vocal gymnastics, it is indispensable, almost, to practice a series of muscular exercises, adapted to the expansion of the chest, freedom of the circulation, and general vitality of the whole system.
First, stand firmly upon both feet, hands upon the hips, fingers in front, head erect, so as to throw the larynx directly over the wind-pipe in a perpendicular line; bring the arms, thus adjusted, with hands pressed firmly against the waist, back and down, six times in succession; the shoulders will be brought down and back, head up, chest thrown forward. Keeping the hands in this position, breathe freely, filling the lungs to the utmost, emitting the breath slowly. Now, bring the hands, clenched tightly, against the sides of the chest; thrust the right fist forward-- keeping the head up and chest forward, whole body firm; bring it back, and repeat six times; left the same; then both fists; then right up six times; then left; then both; then right, down six times; left, the same; then both. Now clench the fists tightly, and press them under the arm-pits, throwing the chest as well forward as possible, shoulders down and back, head erect; thrust the fists down the sides, and return, six times, with the utmost energy. Now, keeping the head, shoulders, and chest still the same, extend the hands forward, palms open and facing, bring both back as far as the bones and muscles of the shoulders will admit, without bending arms at elbows. Now, thrust the body to the right, knees and feet firm, and strike the left side with open palms, vigorously, repeat with body to the left. Now, with arms akimbo, thrust the right foot forward (kicking) with energy, six times; left same. Now, place the clenched fist in the small of the back with great force; throw the whole body backwards, feet and knees firm, tilling the lungs to the utmost and uttering, as you go over, the alphabetical element, "a_" then long "_o_," then long "_e" If these movements have been made with great energy and precision, the blood is circulating freely, and the whole body is aglow, and you are ready now for vocal exercises.
These should be repeated daily with increasing energy.
The best time for practicing gymnastic exercises is either early in the morning or in the cool of the evening; but never immediately after meals.
As the feet and lower limbs are the foundation, we shall begin by giving their different positions. The student should be careful to keep the body erect.
A good voice depends upon the position, and the practice of Position and Gesture will prove a valuable aid in physical culture, and in acquiring a graceful address. There are two primary positions of the feet in speaking:
First.--The body rests on the left foot, right a little advanced, right knee bent.
Second.--The body rests on the right foot, the left a little advanced, left knee bent.
There are two other positions which are called secondary. They are assumed in argument, appeal or persuasion.
The first secondary position is taken from the first primary by advancing the unoccupied foot, and resting the body upon it, leaning forward, the left foot brought to its support. The second secondary position is the same as the first with the body resting on the left foot. In assuming these positions the movements must be made with the utmost simplicity, avoiding all display or parade, and advancing, retiring or changing with ease and gracefulness, excepting when the action demands energy or marked decision. All changes must be made as lightly and as imperceptibly as possible, without any unnecessary sweep of the moving foot, and in all changes that foot should be moved first which does not support the weight of the body. All action should be graceful in mechanism and definite in expressiveness. The speaker should keep his place--all his motions may be easily made in one square yard, but the stage or dramatic action requires more extended movements.
WALKING.
In walking, the head and body should be carried upright, yet perfectly free and easy, with the shoulders thrown back, the knees should be straight, and the toes turned out. In the walk or march, the foot should be advanced, keeping the knee and instep straight, and the toe pointing downward; it should then be placed softly on the ground without jerking the body; and this movement should be repeated with the left foot, and