Pieces To Speak - A Collection Of Declamations And Dialogues For School And Home With Helpful Notes As To Delivery - nieuw boek

p i E CEB T .0. S - R EA K A COLLECTION OF DECLAMATIONS AND DIALOGUES FOR SCHOOL AND HOME, WITH - HELPFUL NOTES AS TO DELIVERY HARLAN H. BAKLARD SYRACUSE, N. Y 0. W. BARDEEN, PUBLISHER 1897 COPYRIGHT, 1H97, BY C VV. BAUDKKN BALLARDS PIECES TO SPEAK INTROD UCTION. THIS collection is made upon homoeopathic principles. The number of c Speakers now published is enormous. There are often a hundred selections in one book. Yet the boys usually find only about half a dozen available pieces in any of them. It is believed that every selection in this envelope will be used. The advantages of this method of publication over the book form are apparent 1. There is no padding. 2. The teacher can help a, scholar to a piece to speak without a toilsome search through dreary volumes without the necessity of cutting long pieces down, or the risk of loaning valued books to careless fingers. 3. Scholars can club together, and thus get a great variety of pieces at trifling cost. 4. In the case of dialogues, the cards, or leaflets, will be duplicated, so that each speaker can have the whole text with out the expense of buying a book, or the labor of copying. GENERAL HINTS ON DELIVERY. The first thing which a speaker must learn to dois to make Ms audience think as he thinks. The second thing is to make them feel as he feels. The last thing is to make them do as he wishes. We will consider only the first two for when orators wish to make their hearers do anything, they speak so directly from their own hearts that they have no necessity of learning a piece to speak. The most that you can hope to do at present is to make your hearers understand what you say, and feel as you feel In order to make it possible forany one to understand what you say, you must speak loud enough to be heard, distinctly enough to make hearing easy, and slowly enough to let the thoughts have time to take root in the mind. In order to ma e It necessary tor any one to understand what you say, you must understand it yourself you must speak loud enough, and distinctly enough, and slowly enough, to com pel attention and you must so emphasize and dwell upon the principal words that no one can help catching them. If a word is essential to the meaning of a passage, you must force that word upon the attention of your audience in some way by a long pause before and after it by great stress of voice by a gesture by repeating It or in some way even if you have to paint it on a banner and wave it before their eyes. In studying a piece, therefore, you must always determine for yourself what are the most important words. In the second place, in order to make your audience feel what you feel, you must first feel something. Study your piece till you fairly enter into the spirit of it. Forget yourself imagine yourself the speaker at the head of an army in the Senate-chamber in the saddened home no matter where. Imagine your audience to he persons to whom it is important that you should say something, and then say it to them. Talk with them as if you meant it. Do not merely recite lines which you have learned. Understand precisely what you wish to say feel deeply what there is to feel then, by speaking clearly, slowly, dis tinctly, earnestly, compel your hearers to think as yon think, and to feel as you feel. If the words are spirited, try to make your school-fellows look ready for action if the words are humorous, try to make themlaugh if pathetic, try to make them feel like weeping. Practice thus on your mates at school, and by and by you will be able to influence men to think, feel, and act under the mfluence of your words. CLASSIFIED INDEX PAGE AUTHOES Adams, Charles F 20 Branch, M B 10 Branson, George 48 Clemens, Samuel L .. 133 Donnuet, Allrcd 38 Emerson, R W 74 Everett, Edward 32, 44 Goldsmith, Oliver 159 Halpme, Charles G 92 Hurtling, W. W 42 Hastings, Flora 80 Henry, Patrick 12 Lareom, Lucy 181 Lincoln, A 22 Longfellow, II...