The method of this "Speaker" is that also of the two other books to follow, "The Writer" and "The Debater," written by members of the Department of Oratory and Esthetic Criticism of Princeton College. As in the preface to the "Orator's Manual," so again here, a sense of indebtedness for valuable suggestions, with reference to the subjects treated in this book, over and beyond what seems to be common property, needs to be expressed to S. M. Cleveland, M.D., of Philadelphia, formerly Professor of Rhetoric and Oratory in the University of Pennsylvania; C. J. Plumptre, author of "Lectures on Elocution" in King's College, London, and Emilio Belari, Professeur de Chant, Paris; also to the following, especially, among the many works of merit on elocution that have been written in this country: "The Philosophy of the human Voice," by James Rush, M. D.; "The Culture of the Voice," by James E. Murdoch and William Russell; "Reasonable Elocution," by F. Taverner Graham, and the various publications of Professor L. B. Monroe, of the Boston School of Oratory. Nothing was said in the "Orator's Manual" of any indebtedness to Delsarte. This was because, at the time when it was prepared, in 1878, the only knowledge, if any, that the author had of the system of the great French master, had been derived in Paris through secondary sources. What had thus been derived was undoubtedly Delsartean, and probably directly due to Delsarte, in the sense that it caused the author in all cases to search for psychological reasons to account for the uses of the various elements of expression. But that the particular reasons assigned by him and embodied in the explanations of the book were his own, any one who will compare with any previous presentations of these subjects such chapters as those treating of pitch, stress, and the meanings of gestures, will soon discover. That the "Orator's Manual " is used as a text-book in many distinctively Delsarte Schools, and never in so many of these as at present, merely proves the importance of method and the substantial agreement of results to which similar methods inevitably tend. CONTENTS. PART I. Principles of Oral Expression. VOCAL CULTURE. Lesson I. The Motor and Essential Organs of Vocal Ex- 3 Lesson II. The Production of Sounds. Vowels and Conso 10 Lesson III. Exercise - General Principles. Exercise. Lesson IV. - Time. Pause and Movement. Lesson V. - Pitch. Rising and Falling Inflections contrasted. Lesson VI.-Pitch, continued. Rising and Falling Circumflexes contrasted. Exercise Lesson VII. Force. Syllabic Force or Stress. General Lesson VIII.-Quality. Its Forms. Exercise GESTURE. Lesson IX. - Gesture. Posture, etc. The Opening and Clos |