Recitations with Lesson Talks.

Recitations with Lesson Talks.SHOWING BY EXAMPLES HOW TO READ AND RECITE.

SHOWING BY EXAMPLES HOW TO READ AND RECITE.

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 musicThrough the spirit will ever roll,Thrilling with martial ardorThe 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 arenaSang a song of praise to God.David Graham Adee.

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.

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 arenaSang a song of praise to God.

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.

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. Bealive; 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,”

“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 inFigure 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.

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 ofMount 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.”

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 inFigure 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 byFigure 4 of Typical Gestures. When you come to the words “the well-planned victory was a terrible defeat,” stretch forth your right arm as inFigure 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 pronouncedShon-po; Desaix is pronouncedDe-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.

One morning, fifty years ago—When apple-trees were white with snowOf fragrant blossoms, and the airWas 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 seenJogging along the winding road2. 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 lightThat 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 amongThe 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 payFrom what is in the pillow case?”4. And glancing down his eyes surveyedThe 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 gateHalted 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 leansFar out across the window-sill and yells—“Come in. He says he’ll take the beans!”Oh! how she jumped! With one glad boundShe and the bean-bag reached the ground.7. Then, clasping with each dimpled armThe precious products of the farm,She bears it through the open door,And down upon the parlor floorDumps 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 stillWhich echoed through those woodland scenes:“God bless the priest of Whittensville!God bless the man who took the beans.”

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 lightThat 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.

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 amongThe 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 payFrom what is in the pillow case?”

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 surveyedThe 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 gateHalted the more than willing steed.

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.

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 leansFar out across the window-sill and yells—“Come in. He says he’ll take the beans!”Oh! how she jumped! With one glad boundShe and the bean-bag reached the ground.

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 armThe precious products of the farm,She bears it through the open door,And down upon the parlor floorDumps the best beans vines ever bore.

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 stillWhich echoed through those woodland scenes:“God bless the priest of Whittensville!God bless the man who took the beans.”

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.”

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 inFigure 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 ofFigure 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 inFigure 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.

“Make me a statue,” said the King,“Of marble white as snow;It must be pure enough to standBefore my throne, at my right hand;The niche is waiting. Go!”2. The sculptor heard the King’s commandAnd 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 doBut mould in clay instead?”7. “Thou shalt not unrewarded goSince 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.

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

“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 commandAnd went upon his way;He had no marble, but he meant,With willing mind and high intent,To mould his thoughts in clay.

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.

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.

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.

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 doBut mould in clay instead?”

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 goSince thou hast done thy best,Thy statue shall acceptance win,It shall be as it should have been,For I will do the rest.”

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.

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.

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 useFigure 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 inFigure 13 of Typical Gestures. Let your facial expression indicate satisfaction.

“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 playWhere 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 tellOf all the pies and ginger-cakesAnd doughnuts that she always makes,And all the jam and tarts and such,Andneversays, ‘Don’t take too much;Because,’ she says, ‘he must enjoyHis visit, for he’s Grandma’s boy!’4. “And Grandpa says: ‘I’ll give him soonA 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 boysam I?”

“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 playWhere 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!’

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 tellOf all the pies and ginger-cakesAnd doughnuts that she always makes,And all the jam and tarts and such,Andneversays, ‘Don’t take too much;Because,’ she says, ‘he must enjoyHis visit, for he’s Grandma’s boy!’

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,

Andneversays, ‘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 soonA 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 boysam I?”

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 boysam I?”

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 inFigure 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.

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