The Canadian Elocutionist | Page 6

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 the action continued until it can be performed with ease and
elegance.
"In a graceful human step," it has been well observed, "the heel is
always raised before the foot is lifted from the ground, as if the foot
were part of a wheel rolling forward, and the weight of the body,
supported by the muscles of the calf of the leg, rests, for a time, on the
fore part of the foot and toes. There is then a bending of the foot in a
certain degree."
SITTING.
In reading, the student should sit erect, with both feet resting on the
floor, and one foot slightly advanced, the head up so as to be able to
use the whole trunk in respiration.

KNEELING.
To kneel gracefully, assume the first standing position resting the
weight of the body on the right foot, then place the left knee gently
down on the floor keeping the body perfectly erect, then bring the right
knee down;--in rising, these motions are reversed, the right knee being
raised first, the full weight of the body resting on it while rising, bring
up the left knee and assume the first standing position. To be effective
these motions should be very gracefully executed and a great deal of
practice must be given to acquire freedom of action.
HOLDING THE BOOK.
The book should be held in the right hand by the side, standing in the
first position then raise it and open it to place, pass it to the left hand
letting the right hand drop by the side, the book being held so that the
upper part of it is below the chin, so as to show the countenance, and
permit the free use of the eyes, which should frequently be raised from
the book and directed to those who are listening.
CHAPTER II.
BREATHING EXERCISES.
Deep breathing with the lips closed, inhaling as long as possible, and
exhaling slowly, is very beneficial.
Having inflated the lungs to their utmost capacity, form the breath into
the element of long _o_, in its escape through the vocal organs. This
exercise should be frequently repeated, as the voice will be
strengthened thereby, and the capacity of the chest greatly increased.
Do not raise the shoulders or the upper part of the chest alone when you
breathe. Breathe as a healthy child breathes, by the expansion and
contraction of abdominal and intercostal muscles. Such breathing will
improve the health, and be of great assistance in continuous reading or
speaking. Great care is necessary in converting the breath into voice.
Do not waste breath; use it economically, or hoarseness will follow.
Much practice on the vocal elements, with all the varieties of pitch,

then the utterance of words, then of sentences, and finally of whole
paragraphs, is necessary in learning to use the breath, and in acquiring
judgment and taste in vocalizing. _Never speak when the lungs are
exhausted. Keep them well inflated._
SPECIAL DIRECTIONS FOR BREATHING.
0. Place yourself in a perfectly erect but easy posture; the weight of the
body resting on one foot; the feet at a moderate distance, the one
in advance of the other; the arms akimbo; the fingers pressing on
the abdominal muscles, in front, and the thumbs on the dorsal
muscles, on each side of the spine; the chest freely expanded and
fully projected; the shoulders held backward and downward; the
head perfectly vertical.
0. Having thus complied with the preliminary conditions of a free and
unembarrassed action of the organs, draw in and give out the
breath very fully and very slowly, about a dozen times in
succession.
0. Draw in a very full breath, and send it forth in a prolonged sound of
the letter _h_. In the act of inspiration, take in as much breath as
you can contain. In that of expiration, retain all you can, and give
out as little as possible, merely sufficient to keep the sound of
_h_ audible.
0. Draw in a very full breath, as before, and emit it with a lively,
expulsive force, in the sound of _h_, but little prolonged in the
style of a