Myr.Pygmalion's heard that he must lose his wife,And swears, by all the gods that reign above,He will not live if she deserts him now!What—what is to be done?
Myr.Pygmalion's heard that he must lose his wife,And swears, by all the gods that reign above,He will not live if she deserts him now!What—what is to be done?
Myr.
Pygmalion's heard that he must lose his wife,
And swears, by all the gods that reign above,
He will not live if she deserts him now!
What—what is to be done?
EnterGalatea
Gal.Myrine here!Where is Pygmalion?Myr.Oh, wretched girl!Art thou not satisfied with all the illThy heedlessness has worked, that thou art comeTo gaze upon thy victim's misery?Well, thou hast come in time!Gal.What dost thou mean?Myr.Why, this is what I mean; he will not live,Now that Cynisca has deserted him.O, girl, his blood will be upon thy head!Gal.Pygmalion will not live! Pygmalion die!And I, alas, the miserable cause!Oh, what is to be done?Myr.I do not know.And yet there is one chance, but one alone;I'll see Cynisca, and prevail on herTo meet Pygmalion but once again.Gal.But should she come too late? He may not liveTill she returns.Myr.I'll send him now to thee,And tell him that his wife awaits him here.He'll take thee for Cynisca; when he speaksAnswer thou him as if thou wast his wife.Gal.Yes, yes, I understand.Myr.Then I'll be gone.The gods assist thee in this artifice![ExitMyrine.Gal.The gods will help me, for the gods are good.[Kneels.] Oh, heaven, in this great grief I turn to thee,Teach me to speak to him, as, ere I lived,Cynisca spake to him. Oh, let my voiceBe to Pygmalion as Cynisca's voice,And he will live—for her and not for me—Yet he will live. I am the fountain head
Gal.Myrine here!Where is Pygmalion?
Gal.
Myrine here!
Where is Pygmalion?
Myr.Oh, wretched girl!Art thou not satisfied with all the illThy heedlessness has worked, that thou art comeTo gaze upon thy victim's misery?Well, thou hast come in time!
Myr.
Oh, wretched girl!
Art thou not satisfied with all the ill
Thy heedlessness has worked, that thou art come
To gaze upon thy victim's misery?
Well, thou hast come in time!
Gal.What dost thou mean?
Gal.
What dost thou mean?
Myr.Why, this is what I mean; he will not live,Now that Cynisca has deserted him.O, girl, his blood will be upon thy head!
Myr.
Why, this is what I mean; he will not live,
Now that Cynisca has deserted him.
O, girl, his blood will be upon thy head!
Gal.Pygmalion will not live! Pygmalion die!And I, alas, the miserable cause!Oh, what is to be done?
Gal.
Pygmalion will not live! Pygmalion die!
And I, alas, the miserable cause!
Oh, what is to be done?
Myr.I do not know.And yet there is one chance, but one alone;I'll see Cynisca, and prevail on herTo meet Pygmalion but once again.
Myr.
I do not know.
And yet there is one chance, but one alone;
I'll see Cynisca, and prevail on her
To meet Pygmalion but once again.
Gal.But should she come too late? He may not liveTill she returns.
Gal.
But should she come too late? He may not live
Till she returns.
Myr.I'll send him now to thee,And tell him that his wife awaits him here.He'll take thee for Cynisca; when he speaksAnswer thou him as if thou wast his wife.
Myr.
I'll send him now to thee,
And tell him that his wife awaits him here.
He'll take thee for Cynisca; when he speaks
Answer thou him as if thou wast his wife.
Gal.Yes, yes, I understand.
Gal.
Yes, yes, I understand.
Myr.Then I'll be gone.The gods assist thee in this artifice![ExitMyrine.
Myr.
Then I'll be gone.
The gods assist thee in this artifice!
[ExitMyrine.
Gal.The gods will help me, for the gods are good.[Kneels.] Oh, heaven, in this great grief I turn to thee,Teach me to speak to him, as, ere I lived,Cynisca spake to him. Oh, let my voiceBe to Pygmalion as Cynisca's voice,And he will live—for her and not for me—Yet he will live. I am the fountain head
Gal.
The gods will help me, for the gods are good.
[Kneels.] Oh, heaven, in this great grief I turn to thee,
Teach me to speak to him, as, ere I lived,
Cynisca spake to him. Oh, let my voice
Be to Pygmalion as Cynisca's voice,
And he will live—for her and not for me—
Yet he will live. I am the fountain head
EnterPygmalion,unobserved, led in byMyrine
Of all the horrors that surround him now,And it is fit that I should suffer this;Grant this, my first appeal—I do not askPygmalion's love; I ask Pygmalion's life.
Of all the horrors that surround him now,And it is fit that I should suffer this;Grant this, my first appeal—I do not askPygmalion's love; I ask Pygmalion's life.
Of all the horrors that surround him now,
And it is fit that I should suffer this;
Grant this, my first appeal—I do not ask
Pygmalion's love; I ask Pygmalion's life.
[Pygmalionutters an exclamation of joy. She rushes to him and seizes his hand.
Pygmalion!Pyg.I have no words in whichTo tell the joy with which I heard that prayer.Oh, take me to thine arms, my dearly loved!And teach me once again how much I riskedIn risking such a heaven-sent love as thine.Gal. [believing that he refers to her].Pygmalion! my love! Pygmalion!Once more those words! again! say them again!Tell me that thou forgivest me the illThat I unwittingly have worked on thee!Pyg.Forgive thee? Why, my wife, I did not dareTo ask thy pardon, and thou askest mine.The compact with thy mistress, Artemis,Gave thee a heaven-sent right to punish me.I've learnt to take whate'er the gods may send.
Pygmalion!
Pygmalion!
Pyg.I have no words in whichTo tell the joy with which I heard that prayer.Oh, take me to thine arms, my dearly loved!And teach me once again how much I riskedIn risking such a heaven-sent love as thine.
Pyg.
I have no words in which
To tell the joy with which I heard that prayer.
Oh, take me to thine arms, my dearly loved!
And teach me once again how much I risked
In risking such a heaven-sent love as thine.
Gal. [believing that he refers to her].Pygmalion! my love! Pygmalion!Once more those words! again! say them again!Tell me that thou forgivest me the illThat I unwittingly have worked on thee!
Gal. [believing that he refers to her].
Pygmalion! my love! Pygmalion!
Once more those words! again! say them again!
Tell me that thou forgivest me the ill
That I unwittingly have worked on thee!
Pyg.Forgive thee? Why, my wife, I did not dareTo ask thy pardon, and thou askest mine.The compact with thy mistress, Artemis,Gave thee a heaven-sent right to punish me.I've learnt to take whate'er the gods may send.
Pyg.
Forgive thee? Why, my wife, I did not dare
To ask thy pardon, and thou askest mine.
The compact with thy mistress, Artemis,
Gave thee a heaven-sent right to punish me.
I've learnt to take whate'er the gods may send.
[Galatea,at first delighted, learns in the course of this speech thatPygmaliontakes her forCynisca,and expresses extreme horror.
Gal. [with an effort].But then, this woman, Galatea—Pyg.Well?Gal.Thy love for her is dead?Pyg.I had no love. A miracleDid crown my handiwork, and brought to lifeThe fair creation of my sculptor's skill,I yielded to her god-sent influence,For I had worshiped her before she livedBecause she called Cynisca's face to me;But when she lived—that love died—word by word.Gal.That is well said; thou dost not love her then?She is no more to thee than senseless stone?Pyg.Speak not of her, Cynisca, for I swear
Gal. [with an effort].But then, this woman, Galatea—
Gal. [with an effort].
But then, this woman, Galatea—
Pyg.Well?
Pyg.
Well?
Gal.Thy love for her is dead?
Gal.
Thy love for her is dead?
Pyg.I had no love. A miracleDid crown my handiwork, and brought to lifeThe fair creation of my sculptor's skill,I yielded to her god-sent influence,For I had worshiped her before she livedBecause she called Cynisca's face to me;But when she lived—that love died—word by word.
Pyg.
I had no love. A miracle
Did crown my handiwork, and brought to life
The fair creation of my sculptor's skill,
I yielded to her god-sent influence,
For I had worshiped her before she lived
Because she called Cynisca's face to me;
But when she lived—that love died—word by word.
Gal.That is well said; thou dost not love her then?She is no more to thee than senseless stone?
Gal.
That is well said; thou dost not love her then?
She is no more to thee than senseless stone?
Pyg.Speak not of her, Cynisca, for I swear
Pyg.
Speak not of her, Cynisca, for I swear
EnterCynisca,unobserved
The unhewn marble of PentelicusHath charms for me, which she, in all her glowOf womanly perfection, could not match.Gal.I'm very glad to hear that this is so.Thou art forgiven!Pyg.Thou hast pardoned me,And though the law of Artemis declaredThy pardon should restore to me the lightThine anger took away, I would be blind,I would not have mine eyes lest they should restOn her who caused me all this bitterness!Gal.Indeed, Pygmalion, 'twere better thus;If thou couldst look on Galatea now,Thy love for her, perchance, might come again.Pyg.No, no.Gal.They say that she endureth painsThat mock the power of words.Pyg.It should be so.Gal.Hast thou no pity for her?[Cyniscacomes down.Pyg.No, not I.The ill that she hath worked on thee, on me,And on Myrine, surely were enoughTo make us curse the hour that gave her life.She is not fit to live upon this world!Gal.Upon this worthy world, thou sayest well.The woman shall be seen of thee no more.
The unhewn marble of PentelicusHath charms for me, which she, in all her glowOf womanly perfection, could not match.
The unhewn marble of Pentelicus
Hath charms for me, which she, in all her glow
Of womanly perfection, could not match.
Gal.I'm very glad to hear that this is so.Thou art forgiven!
Gal.
I'm very glad to hear that this is so.
Thou art forgiven!
Pyg.Thou hast pardoned me,And though the law of Artemis declaredThy pardon should restore to me the lightThine anger took away, I would be blind,I would not have mine eyes lest they should restOn her who caused me all this bitterness!
Pyg.
Thou hast pardoned me,
And though the law of Artemis declared
Thy pardon should restore to me the light
Thine anger took away, I would be blind,
I would not have mine eyes lest they should rest
On her who caused me all this bitterness!
Gal.Indeed, Pygmalion, 'twere better thus;If thou couldst look on Galatea now,Thy love for her, perchance, might come again.
Gal.
Indeed, Pygmalion, 'twere better thus;
If thou couldst look on Galatea now,
Thy love for her, perchance, might come again.
Pyg.No, no.
Pyg.
No, no.
Gal.They say that she endureth painsThat mock the power of words.
Gal.
They say that she endureth pains
That mock the power of words.
Pyg.It should be so.
Pyg.
It should be so.
Gal.Hast thou no pity for her?[Cyniscacomes down.
Gal.
Hast thou no pity for her?
[Cyniscacomes down.
Pyg.No, not I.The ill that she hath worked on thee, on me,And on Myrine, surely were enoughTo make us curse the hour that gave her life.She is not fit to live upon this world!
Pyg.
No, not I.
The ill that she hath worked on thee, on me,
And on Myrine, surely were enough
To make us curse the hour that gave her life.
She is not fit to live upon this world!
Gal.Upon this worthy world, thou sayest well.The woman shall be seen of thee no more.
Gal.
Upon this worthy world, thou sayest well.
The woman shall be seen of thee no more.
[TakesCynisca'shand and leads her toPygmalion.]
What wouldst thou with her now? Thou hast thy wife!
What wouldst thou with her now? Thou hast thy wife!
What wouldst thou with her now? Thou hast thy wife!
[She substitutesCyniscain her place, and retires, weeping.Cyniscatakes him to her arms and kisses him. He recovers his sight.
Pyg.Cynisca! see! the light of day is mine!Once more I look upon thy well loved face!
Pyg.Cynisca! see! the light of day is mine!Once more I look upon thy well loved face!
Pyg.
Cynisca! see! the light of day is mine!
Once more I look upon thy well loved face!
EnterGalatea
Myr.Pygmalion!See—Galatea's here![Galateakneels.Pyg.Away from me,Woman or statue! Thou the only blightThat ever fell upon my love—begone,
Myr.Pygmalion!See—Galatea's here![Galateakneels.
Myr.
Pygmalion!
See—Galatea's here!
[Galateakneels.
Pyg.Away from me,Woman or statue! Thou the only blightThat ever fell upon my love—begone,
Pyg.
Away from me,
Woman or statue! Thou the only blight
That ever fell upon my love—begone,
[Cyniscacomforts her.
For thou hast been the curse of all who fellWithin the compass of thy waywardness!Cyn.No, no; recall those words, Pygmalion,Thou knowest not all.Gal.Nay, let me go from him;That curse—his curse still ringing in mine ears,For life is bitterer to me than death.[She mounts the pedestal.Farewell, Pygmalion, I am not fitTo live upon this world—this worthy world.Farewell, Pygmalion. Farewell, farewell!
For thou hast been the curse of all who fellWithin the compass of thy waywardness!
For thou hast been the curse of all who fell
Within the compass of thy waywardness!
Cyn.No, no; recall those words, Pygmalion,Thou knowest not all.
Cyn.
No, no; recall those words, Pygmalion,
Thou knowest not all.
Gal.Nay, let me go from him;That curse—his curse still ringing in mine ears,For life is bitterer to me than death.[She mounts the pedestal.Farewell, Pygmalion, I am not fitTo live upon this world—this worthy world.Farewell, Pygmalion. Farewell, farewell!
Gal.
Nay, let me go from him;
That curse—his curse still ringing in mine ears,
For life is bitterer to me than death.
[She mounts the pedestal.
Farewell, Pygmalion, I am not fit
To live upon this world—this worthy world.
Farewell, Pygmalion. Farewell, farewell!
[The curtains conceal her.
Cyn.Thou art unjust to her as I to thee!Hers was the voice that pardoned thee—not mine.I knew no pity till she taught it me.I heard the words she spoke, and little thoughtThat they would find an echo in my heart;But so it was. I took them for mine own,And asking for thy pardon, pardoned thee!
Cyn.Thou art unjust to her as I to thee!Hers was the voice that pardoned thee—not mine.I knew no pity till she taught it me.I heard the words she spoke, and little thoughtThat they would find an echo in my heart;But so it was. I took them for mine own,And asking for thy pardon, pardoned thee!
Cyn.
Thou art unjust to her as I to thee!
Hers was the voice that pardoned thee—not mine.
I knew no pity till she taught it me.
I heard the words she spoke, and little thought
That they would find an echo in my heart;
But so it was. I took them for mine own,
And asking for thy pardon, pardoned thee!
Pyg.Cynisca! Is this so?Cyn.In truth it is.Gal. [behind curtain]:Farewell, Pygmalion! Farewell—farewell!
Pyg.Cynisca! Is this so?
Pyg.
Cynisca! Is this so?
Cyn.In truth it is.
Cyn.
In truth it is.
Gal. [behind curtain]:Farewell, Pygmalion! Farewell—farewell!
Gal. [behind curtain]:
Farewell, Pygmalion! Farewell—farewell!
[Pygmaliontears away the curtain, discoveringGalateaas a statue.
Aldrich, Thomas Bailey,478.Angell, James B.,220.Anonymous,89,92,349,353,354,380,386,395,404.Arnold, Edwin,110.Barham, R. H.,54.Beecher, Henry Ward,208,215.Bell, H. G.,431.Beveridge, Albert J.,217.Blaine, James Gillespie,237.Bossuet, Jacques Bénigne,169.Bright, John,218,222.Brooks, Katherine R.,125.Browning, Robert,21.Bryan, William Jennings,231.Bryant, William Cullen,132.Burke, Edmund,175,178,182.Burns, Robert,129.Burroughs, John,53.Byron, Lord,147.Cable, George W.,77.Campbell, Thomas,157.Carlyle, Thomas,156.Castelar, Emilio,258.Channing, William E.,302.Chatham, William Pitt, Earl of,171,173.Chrysostom, Saint-John,165,167.Cicero, Marcus Tullius,162.Cockran, Bourke,314.Cooke, Edmund Vance,52.Coolidge, Susan,42.Corwin, Thomas,278.Crawford, F. Marion,139.Curtis, George William,273,275.Delano, Myra S.,37.Demosthenes,159.Dickens, Charles,15,103.Dunbar, Paul Laurence,325,327,389.Dunne, Finley Peter,337.Edwards, Harry Stillwell,340.Emerson, Ralph Waldo,148.Everett, Edward,312.Field, Eugene,76.Flagg, Edmund,304.Garfield, James A.,260.Gilbert, W. S.,493.Gillilan, S. W.,137,343.Gladstone, William E.,222,255.Goldsmith, Oliver,486.Grady, Henry W.,249,283,284.Graves, John Temple,246.Hamilton, Alexander,196.Harris, Joel Chandler,335,370.Hay, John,59,124,261,362.Hemans, Felicia,151.Henry, Daniel,12,130.Henry, Patrick,193,292.Hoar, George F.,309.Holmes, Oliver W.,145.Howe, Julia Ward,225.Hugo, Victor,345,400.Hunt, Leigh,57.Ingalls, John J.,235.Ingelow, Jean,47,101.Ingersoll, Robert G.,279,315.Irving, Washington,449.Jenkins, Lucy Dean,366.Jerome, Jerome K.,354.Jerrold, Blanchard,468.King, Ben F.,357,379.Kingsley, Charles,102.Kipling, Rudyard,155,368.Kossuth, Louis,250,313.Le Fanu, Joseph S.,113.Lincoln, Abraham,206,241,305,307.Lippard, George,98.Lodge, Henry Cabot,226.Longfellow, H. W.,8,61.Lover, Samuel,364.Lowell, James Russell,152.Lytton, Edward Bulwer,25,80.Lytton, Robert Bulwer,8,423,441.McKinley, William,251.Mead, Edwin D.,294,299,318.Mitchell, Agnes E.,391.Moore, Thomas,41.Nadaud, Gustav,13.Phelps, Elizabeth Stuart,330.Phillips, Charles,321.Phillips, Wendell,202,239,290,296,297.Pierce, Etta W.,133.Poe, Edgar Allan,426.Quincy, Josiah,284.Richards, Laura E.,414.Riley, James Whitcomb,323,324,359.Robbins, R. D. C.,118.Roosevelt, Theodore,264,280.Savonarola, Girolamo,228.Saxe, John G.,384.Scott, Walter,123.Sheridan, Richard Brinsley,454.Sienkiewicz, Henryk,1.Smith, F. Hopkinson,375.Stephens, Alexander H.,243.Streeter, R. M.,387.Sumner, Charles,212,248.Taylor, Benjamin F.,373.Tennyson, Alfred, Lord,32,67,94,146.Thompson, Maurice,138.Togo, Admiral Heihaichiro,242,271.Van Dyke, Henry,72.Verne, Jules,408.Weatherly, F. E.,328.Webster, Daniel,185,188,191,199.Whitman, Walt,88.Whittier, John G.,144,149.Wilcox, Ella Wheeler,117.Williams, Henry L.,437.
ByRobert I. Fulton, late of Ohio Wesleyan University, andThomas C. Trueblood, University of Michigan
(Second Edition)
This book shows the relation of intellect, feeling, and gesture to the elements of effective expression in oratorical and dramatic art. It treats the elements of expression in their simplest and most natural order, showing their application to the various sentiments and emotions, and provides exercises in the technic of voice and action. In illustration of the principles full selections as well as illustrative passages are given, together with the necessary explanation,xiv+250 pages
Accounts of the lives and public careers of twenty-two noted British and American orators together with selections from their greatest speeches. The purpose is to point out by concrete example the abstract principles of public speaking which should guide the beginner. The book aims to select, adapt, and utilize in a single volume such helpful material as the student of public speaking can find elsewhere only in many separate volumes.403 pages, illustrated
The number, variety, and interest of the selections are noteworthy. They include prose and verse from a wide range of writers. Selections are grouped in fourteen divisions, according to the nature of the subject matter,xix+729 pages
Edited byRobert I. Fulton,Thomas C. Trueblood, andEdwin P. Trueblood
The purpose of the book is to provide material in poetry and oratory that has never before appeared in books of this character, and to stimulate interest in the authors represented. Nearly two hundred selections of varying character are included.510 pages
GINN AND COMPANY Publishers
ByEdwin Dubois Shurter, Associate Professor of Public Speaking in the University of Texas
12mo, cloth, 178 pages
This manual provides an analysis of the art of extempore speaking, together with specific examples and exercises. It is distinctly modern in treatment, although drawing also from the rich fund of material in classical and modern literature.
ByEdwin Dubois Shurter
12mo, cloth, 369 pages
These fifteen orations, edited with introductions and notes, are intended to furnish models for students of oratory, argumentation, and debate. The orators represented are Burke, Webster, Lincoln, Phillips, Curtis, Grady, Watterson, Daniel, Porter, Reed, Beveridge, Cockran, Schurz, Spalding, and Van Dyke.
ByHenry Evarts Gordon, late Professor of Public Speaking in the University of Iowa
12mo, cloth, viii + 315 pages
A fresh and stimulating treatise on the fundamentals of public speaking from its cultural side, intended primarily for college classes but easily adaptable to high-school use. A thorough program of study is provided for speech melody, speech quality, speech rhythm, and speech dynamics, accompanied by several hundred illustrative selections.
GINN AND COMPANY Publishers
ByJohn Hays Gardiner, late of Harvard University
A brief course in argumentation to meet the needs of the future average citizen rather than of the few who go on to law or political life. The examples used throughout the book and the exercises and questions suggested for argument are drawn from matters in which young people from eighteen to twenty-two have a natural, lively interest and which they argue about in real life. The aim of the book is to develop habits of analysis and effective presentation of facts which will serve the student in the practical concerns of later life.290 pages
(Revised and Enlarged Edition)
ByGeorge P. Baker, Harvard University, andH. B. Huntington, Brown University
This book holds an established place as one of the standard textbooks in the subject. Fundamental matters of analytical investigation, sifting of evidence, brief-drawing, and persuasive adaptation are clearly illustrated by numerous extracts and are made teachable by varied practical exercises. The book as a whole develops intellectual power and avoids that "predigested" argumentative material which enables a student easily to remember—and surely to forget—"how to argue."677 pages
ByJohn M. Brewer, Los Angeles State Normal School
This textbook treats oral English as a subject independent both of literature and of written composition. It furnishes the student brief directions, detailed exercises, and suggestive lists of topics of every-day interest which will provide material for doing with conscious direction of thought the things which unconsciously are done in the pursuit of every other study—arguing, explaining, and telling. It embodies the latest ideas in the teaching of this subject by substituting for imitation of masterpieces of eloquence a direct and effective way of speaking without unnecessary adornment, more fitted to be of practical use to men and women of to-day.396 pages
GINN AND COMPANY Publishers
ByHarry Garfield Houghton, University of Wisconsin xi + 333 pages
This textbook aims to teach the student,
First, how to organize his subject matter into clear and logical form for purposes of public utterance.Second, how to cultivate his powers of expression so as to enable him to convey his ideas most effectively.
First, how to organize his subject matter into clear and logical form for purposes of public utterance.
Second, how to cultivate his powers of expression so as to enable him to convey his ideas most effectively.
The book combines a definite amount of accurately expressed theory with a maximum of practice. Special emphasis has been laid upon clear and accurate thinking as the foundation for all expression, and each principle has been treated in its relation thereto.
The book, while intended primarily for college courses, will also prove valuable in classes in practical speaking in preparatory schools, as an aid in declamatory work (for this purpose Chapter II, The Conversational Mode, and Appendix II, Declamation, are particularly useful), and as a reference book.
ByWarren C. Shaw, Dartmouth College vii + 240 pages, in Biflex Binder
"The Brief-Maker's Notebook" presents a logical system for analyzing debaters' propositions and supplies a blank form of brief based upon this system. It is devised to accomplish several aims:
1. To enable the debater to use a loose-leaf system of note-taking.2. To help him to investigate details of his case without losing his grip upon the problem as a whole.3. To enable him to write a brief directly from his notes without rearranging the material.4. To crystallize his methods of analysis.5. To apply the theory of argumentation in the preparation of a debate and to develop thoroughness and accuracy.
1. To enable the debater to use a loose-leaf system of note-taking.
2. To help him to investigate details of his case without losing his grip upon the problem as a whole.
3. To enable him to write a brief directly from his notes without rearranging the material.
4. To crystallize his methods of analysis.
5. To apply the theory of argumentation in the preparation of a debate and to develop thoroughness and accuracy.
The material consists of sets of forty pages each. Each set is designed for the complete handling of one proposition.
GINN AND COMPANY Publishers