{"1": {"fulltext": "Slocutionaty\\nManual\\nTONE COLORS\\nAlee Gustine-Coots", "height": "4641", "width": "2940", "jp2-path": "elocutionarymanu00coot_0001.jp2"}, "2": {"fulltext": "", "height": "4254", "width": "2537", "jp2-path": "elocutionarymanu00coot_0002.jp2"}, "3": {"fulltext": "", "height": "4254", "width": "2537", "jp2-path": "elocutionarymanu00coot_0003.jp2"}, "4": {"fulltext": "J^l/cc ^y^d/tnty- {Ootddt", "height": "4254", "width": "2537", "jp2-path": "elocutionarymanu00coot_0004.jp2"}, "5": {"fulltext": "Elocutionary\\nManual\\nTone Colors\\njVJ\\nBY\\nHlce Su6ttne*Coots\\n^eaG^ei 3 l^eoitalist ar|S Ifseetnrer.\\nMany have genius, but wanting art,\\nAre forever dumb.\\nH. W. Longfellow.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0005.jp2"}, "6": {"fulltext": "TWO COPIES RECEIVED.\\nLibrary of Conjr\u00c2\u00ab\u00c2\u00ab%\\nOfflco of th.\\nNOV 1 7 1 W\\nRe Utor of Copyrlgotfc\\n49451\\nCopyright,\\nBy Alce Gustine-Coots.\\n1899.\\nSECOND COPY,", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0006.jp2"}, "7": {"fulltext": "PREFACE.\\nThis manual has been prepared by the author for her own\\nuse, and for the use of other teachers and students feeling\\nthe need of such a book of instruction.\\nIt contains sixty selections for practice from forty-five\\nauthors, with practical definitions that will enable the student\\nto study and cultivate Tone Colors without the aid of a\\nTeacher. No written instructions, however, can equal the\\nillustrations of the teacher who understands how to impart\\nthe true knowledge of the Art of Expression.\\nAlce Gustine- Coots.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0007.jp2"}, "8": {"fulltext": "", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0008.jp2"}, "9": {"fulltext": "5\\n44 Art is long, and Time is fleeting/\\nLongfellow.\\nIRTR0DWeTI0R\\nTONE COLORING.\\nTone Coloring is the kind, quality, shade or coloring of\\nvoice with which you paint your word pictures the variety\\nwith which you represent your characters the true art\\nthat enables you to present to your hearers the truth as\\nyou yourself see it.\\nTone colors are the distinct qualities of voice, used to ex-\\npress the different sentiments and emotions, separately ana-\\nlized. From these given tone colors many others may be\\nformed by mixing and shading one tone with another, or by\\ncombining several. A knowledge of tone coloring is essen-\\ntial to artistic delivery. It is the necessary property of the\\nsuccessful orator, the finished actor, the artistic reader and\\nreciter.\\nBy tone coloring you can express all human perceptions\\nand desires, all that the mind can conceive, all that the\\nheart can feel, and all that the soul can endure. You can\\nwelcome or warn, attract or repel, mourn or mock, excite\\nor soothe, sympathize or threaten, flatter or denounce, beg\\nor command you can express the saddest grief, the sweetest\\njoy, the truest love, the deepest passion. Trust not to in-\\nstinct and emotion, but be guided by accurate knowledge,\\ngood judgment, and right conception. Thus you can more\\nreadily express the sentiments you believe, the emotions\\nyou feel. A knowledge and use of the colors of the voice\\nare as necessary to the speaking artist, as a knowledge of\\npaints and handling of brush are to the artist painter.\\nEvery student of expression should practice on tone\\ncolors until they are thoroughly mastered. Much drill on\\nthem will well repay the time thus spent, they are of great\\nhelp in effective delivery. Train the vocal organs to obey\\nyou so you can produce any tone color at will. Then learn\\nto shade and blend, and mix your color tones so as to ap-\\nply them to represent every phase of truth and feeling, and", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0009.jp2"}, "10": {"fulltext": "all scenes and characters by word painting. Tone coloring\\nis more potent in transmitting emotion to your hearers than\\nthe language it clothes. Words are but the frame- work on\\nwhich to hang the colors of the voice.\\nChanges in tone are more or less due to the varied men-\\ntal and physical conditions of the human mind and body.\\nThe tone color should correspond with the sentiment, scene,\\nor character you would portray. Thus light, joyous, spark-\\nling emotions should be expressed by corresponding light\\n.tone colors; and painful, tragic scenes and passions by\\nsomber, dark and heavy tones.\\nTone colors give vitality to thought and constitute the\\nchief factors in eloquent expression. The speaker who\\nwould effectively impress his hearers by the thoughts and\\nsentiments arising in the human mind, the truths and emo-\\ntions that move the human heart, the fire and passion that\\ninspire the human soul, must learn to paint his words in\\ntones of living light, that they may glow and sparkle, awe\\nand thrill with truth and life and this is the especial prov-\\nince of Tone Coloring in expression.\\nAlce Gustine- Coots.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0010.jp2"}, "11": {"fulltext": "The tone of human voice is mightier than strings or brass to move\\nthe soul/\\nKlopstock.\\nTONE AND SPEECH ORGANS*\\nThe cultivated human voice is music produced by the\\nmost wonderful of all instruments, and its origin and mech-\\nanism are divine.\\nThe different parts of this great instrument are\\nThe Diaphragm, Thorax. Lungs, Trachea, Larynx,\\nPharynx, Nostrils, Nasal Chamber, Mouth Cavity, Palate,\\nUvula, Tongue, Teeth, Lower Jaw and Lips.\\nBRIEF DEFINITION OF THE TONE AND\\nSPEECH ORGANS,\\nThe Diaphragm is the partition separating the interior\\nof the chest from the interior of the abdomen. It serves\\nas the floor of the former and the roof of the latter.\\nThe Thorax is the cavity of the chest and the chest\\nmuscles.\\nThe Lungs are the air sacks and act as bellows for sup-\\nplying the air for respiration and vocalization.\\nThe Trachea is the windpipe, the tube through which the\\nair passes from the lungs into the larynx.\\nThe Larynx is the projection in the throat commonly\\nknown as Adam s Apple. It contains the vocal cords and\\nis the direct organ of vocal sound, thus it may very proper-\\nly be called the music-box of the voice.\\nThe Vocal Cords are elastic bands which vibrate and\\nchange position when the air from the lungs passes into the\\nlarynx, thus producing variety in tone, and the amplitude\\nof the vibrations determine the loudness of the tone.\\nThe Pharynx is the gullet, or passage behind the larynx\\nand uvula, extending upward to the nasal chamber. Its\\nsize determines the roundness and richness of the voice.\\nThe Nostrils are the passages extending from the exter-\\nnal orifices of the nose to the nasal chamber. They are\\nthe proper air inhalers through which all air should pass to\\nthe lungs.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0011.jp2"}, "12": {"fulltext": "The Nasal Chamber is the cavity back of the nostrils,\\nopening into the pharynx. It contains a spongy substance\\nwhich serves as air filterer, moderating and sifting the air\\non its way to the lungs.\\nThe Mouth Cavity embraces the whole interior of the\\nmouth from the lips to the pharynx. Its form and shape\\nmould and determine the timbre of the tone.\\nThe Mouth Roof extends from the upper front teeth to\\nthe uvula, embracing the hard and soft palate and the uvula.\\nThe Hard Palate extends from the upper front teeth to\\nthe centre of the mouth-roof.\\nThe Soft Palate extends from the centre of the mouth-\\nroof to the uvula.\\nThe Uvula is the veil, or pendant portion of the palate,\\nseparating the mouth cavity from the pharynx and the na-\\nsal chamber.\\nThe Tongue, Teeth, Lower Jaw and Lips act directly up-\\non the sound waves, modifying them so as to produce vow-\\nels and consonants. Their healthy condition and right ac-\\ntion are necessary to give clearness and distinctness to\\nspeech.\\nNote. The student is reminded that his success and progress in\\nTone Coloring depend largely upon the cultivation of all the organs\\nemployed in the production of tone, although a knowledge of their\\nanatomy is not strictly essential to good vocal expression.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0012.jp2"}, "13": {"fulltext": "Practice makes the artist,\\nA. G.-C.\\nStcmbarb (Lone Colors.\\nThe Standard Tone Colors are The Pure, Whisper,\\nAspirate, Plaintive, Orotund, Guttural, Pectoral and Fal-\\nsetto.\\nPURE TONE COLOR.\\nDEFINITION.\\nPure Tone Color is the perfect natural voice quality. It\\nshould be clear, smooth and musical, free from all huskiness,\\nharshness or impurity of any kind.\\nREMARKS.\\nTo produce it the tone organs must be in a state of\\nhealth, correctly managed, and all the breath used con-\\nverted into sound. The natural tone (so called), is fre-\\nquently rendered impure by bad training, bad habits, or a\\ndiseased condition of the voice producing organs. Pure\\ntone can be acquired by most people, and all impure voices\\ngreatly improved by proper training.\\nCultivate a smooth, agreeable, pure tone quality it is\\nan excellent thing in man or woman, and is the most\\nimportant of all the ton*e colors, as it is the principle tone\\nused in vocal expression.\\nEXAMPLES OF PURE TONE.\\nTake for examples the sweet singing of the birds, the\\nringing of silver bells, the tinkling of rippling 7vater, the\\nmerry ring of children s laughter, etc.\\nRESONANCE.\\nThe resonance is in the central part of the mouth-roof.\\nNote. In Elocution the term resonance denotes the place\\nwhich appears to act as the direct sounding-board for the tone pro-\\nduced. It is the distinctive characteristic of Tone Color.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0013.jp2"}, "14": {"fulltext": "10\\nWHEN USED.\\nPure Tone forms the basis of common conversation, sim-\\nple narrative, ordinary discourse, descriptive thought; and\\nshould be used to express all bright, joyous, happy emotions,\\netc.\\nTO TEST PURE TONE.\\nTest Pure Tone by holding the hand in front of the lips\\nat a distance of about three inches, and utter in your natu-\\nral pitch, the sound of d-d, prolonged. If any air is felt to\\nstrike the hand it is not pure- tone. Use less breath and\\ntry again until no breath is felt to reach the hand, as in a\\npure tone it should be vocalized as soon as it leaves the\\nlips.\\nHOW ACQUIRED.\\nPractice, in the same way, on all the long vowel sounds\\na e I o u, using only natural pitch and ordinary force.\\nRead or talk with the hand in this position until you can\\nreadily strike the key-note, and become familiar with\\nthe character of your own Pure Tone.\\nExamples for Practice:\\nPURE TONE.\\nMedium.\\n[elocution.]\\nFor everyday practical usefulness, there is no other ac-\\ncomplishment that can be compared to good reading and\\nspeaking. No other art so greatly improves the mind and\\nbody, and gives such general culture as the study of Elocu-\\ntion.\\nA cultivated voice is as charming in speech as in song.\\nAnd, while few can ever hope to acquire sufficient excel-\\nlence to please the public as singers, many, by right study\\nand practice, can succeed as public speakers and reciters\\nand the opportunities are ten to one in their favor.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0014.jp2"}, "15": {"fulltext": "Also, not only is the study of Elocution beneficial to every\\none, but I hold it to be the duty of all, who endeavor to\\ninstruct or amuse the public by speech, to understand the\\nArt of Expression.\\nAlce Gustine- Coots.\\n[From Hamlets Instruction to the Players. Ham-\\nlet.\\nHamlet. Speak the speech, I pray you as I pronounced\\nit to you, trippingly on the tongue but if you mouth it,\\nas many of our players do, I had as lief the town-cryer\\nspoke my lines.\\nWillia in Shake spea re,\\n\\\\_From The Brook.\\nI come from haunts of coot and hern,\\nI make a sudden sally,\\nAnd sparkle out among the fern,\\nTo bicker down a valley.\\nAlfred Tennyson.\\nThe Bobolink From\u00e2\u0080\u0094 Wolfert s Roost.\\nOf all the birds of our groves and meadows, the bobolink\\nwas the envy of my boyhood. He crossed my path in the\\nsweetest weather, and the sweetest season of the year, when\\nall nature called to the fields, and the rural feeling throbbed\\nin every bosom; but when I, luckless urchin was doomed\\nto be mewed up, during the livelong day, in a school-room.\\nIt seemed as if the little varlet mocked at me as he flew\\nby in full song, and sought to taunt me with his happier lot.\\nWashington Irving.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0015.jp2"}, "16": {"fulltext": "Spirited.\\n[From the Play\u00e2\u0080\u0094 The Wife.\\nLenardo to Lorenzo\\nI am a boy again The days come back\\nWhen smallest things made wealth of happiness\\nAnd ever were at hand when I did watch\\nWith panting heart the striking of the clock,\\nWhich hardly sounded ere the book was shut.\\nThen for the race the leap\u00e2\u0080\u0094 the game Oh, Signor,\\nThe vigor and endurance of such joy\\nIs t e er to come again And care so light,\\nThat, looking back, you smile you thought it care,\\nAnd call it part of pleasure.\\nJames Sheridan Knowles*\\nZ,oud.\\n\\\\From Edinburg After Flodden.\\nNews of battle news of battle\\nHark tis ringing down the street\\nAnd the archways and the pavement\\nBear the clang of hurrying feet.\\nNews of battle who hath brought it?\\nAll are thronging to the gate\\nWarder warder open quickly\\nMan is this a time to wait.\\nWilliam Edmondstoune Aytoun*\\n[From Lochinvar s Ride.\\nO young Lochinvar is come out of the West\\nThrough all the wide border his steed was the best\\nAnd save his good broadsword, he weapon had none\\nHe rode all unarmed and he rode all alone.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0016.jp2"}, "17": {"fulltext": "13\\nSo faithful in love, and so dauntless in war,\\nThere never was knight like the young Lochinvar.\\nSir Walter Scott.\\n[From Boy Brixton.\\nSee, Boy Britton, see, boy, see\\nThey strike hurrah the fort has surrendered\\nShout shout, my warrior boy\\nAnd wave your cap, and clap your hands with joy\\nCheer answer cheer, and bear the cheer about\\nHurrah Hurrah\\nWilson.\\nwhisper tone color.\\nDEFINITION.\\nWhisper Tone Color is articulated breath, unvocalized.\\nremarks.\\nPractice on this tone color should be frequent but not\\nlong continued, as it has a tendency to stop the flow of sa-\\nliva and cause dryness of the throat. It is, however, inval-\\nuable as an exercise for clearing the voice and improving\\nthe articulation.\\nRESEMBLANCE.\\nThe sound produced by the Whisper resembles the hiss-\\ning of steam, the rustling of leaves, the whispering of the\\nwinds, the sighing of the breeze in the pine tires, the distant\\nsobbing of the sea, the murmur of a sea shell when applied\\nto the ear, etc.\\nWHEN USED.\\nThe unmixed Whisper is little used in public reading or\\nspeaking. In expression its province is the same as the\\nAspirate, but usually in a lesser degree.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0017.jp2"}, "18": {"fulltext": "H\\nHOW ACQUIRED.\\nPractice on this tone color until you can whisper so as to\\nbe easily heard in a large hall.\\nExamples for Practice\\nWHISPER.\\nI ow.\\n[From The Dying Christian to his Soul.\\nHark! they whisper Angels say,\\nSister spirit, come away.\\nAlexander Pope.\\nMedium.\\n[From Lucile.\\nA whisper serene\\nSlid softer than silence,\\nA soft voice says Sleep\\nAnd he sleeps he is sleeping.\\nOwen Meredith.\\nSh make no noise or they ll hear us.\\nOrig.\\nJLfOud.\\n[From Lochinvar s Ride.\\nAnd the bridemaidens whispered, Twere better, by far.\\nTo have matched our fair cousin with young Lochinvar.\\nScott.\\n[From The Battle of Waterloo.\\nWhile thronged the citizens with terror dumb,\\nOr whispering with white lips,\\nThe foe I they come they come!\\nLord Byron.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0018.jp2"}, "19": {"fulltext": "15\\nASPIRATE TONE COLOR.\\nDEFINITION.\\nAspirate Tone Color is a husky, hoarse, impure tone a-\\ncompound of whisper and vocalized sound.\\nREMARKS.\\nPractice on this tone color will greatly strengthen the\\ntone and speech organs.\\nRESEMBLANCE.\\nIt resembles a hoarse whisper it has the cloudy, husky\\nquality of voice of a person having a severe cold called\\nhoarseness, or loss of voice.\\nWHEN USED.\\nAspirate Tone Color is used in the expression of secrecy,,\\nmystery, caution, suspense, exhaustion, astonishment, sup-\\npressed fear, weakness, expiring life, hoarseness, stage\\nwhisper, etc.\\nHOW ACQUIRED.\\nPractice the exercises under this tone color. Open the\\nthroat well and do not use too much breath, thus you will\\navoid that irritation of the throat too often felt by speakers\\nwho do not understand the correct use of the tone-produc-\\ning organs.\\nExamples for Practice\\nASPIRATE.\\nLow.\\n[From Death of Little Jo.\\n(i I hear you, sir, in the dark but I m gropin a-gropin\\nlet me catch hold of your hand.\\nCharles Dickens.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0019.jp2"}, "20": {"fulltext": "i6\\nHush 1 hark step softly All s hushed as midnight, yet.\\nMake no noise. Be silent\\nMedium.\\n[From The Gambler s Wife.\\nHark Tis his footstep No Tis past tis gone\\nR. Coates.\\n[From the Play Macbeth.\\nLady Macbeth.\\nTo bed, to bed there s knocking at the gate\\nCome, come, come, come, give me your hand.\\nWhat s done cannot be undone. To bed, to bed, to bed\\nShakespeare.\\nLoud.\\nHark I hear the bugles of the enemy\\nThey are on their march For the boats\\nForward\\n[From Death-Bed of Benedict Arnold.\\nHush silence along the lines there silence along\\nthe lines not a word not a word, on peril of your lives\\nHark you, Montgomery we will meet in the center of the\\ntown we will meet there in victory, or die Hist si-\\nlence my men not a whisper, as we move up those steep\\nrocks Now on, my boys now on Men of the wilder-\\nness, we will gain the town Now up with the banner of\\nthe stars up with the flag of freedom, though the night is\\ndark, and the snow falls Nqw now, one more blow, and\\nQuebec is ours\\nGeorge Leppard.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0020.jp2"}, "21": {"fulltext": "17\\nPLAINTIVE TONE COLOR.\\nDEFINITION.\\nPlaintive Tone Color is a thin, weak semitone.\\nREMARKS.\\nThe production of this tone color does not call into ex-\\nercise the full power of the respiratory or vocal organs, but\\ndiffers in degree of use according to the intensity of the\\nsentiment or emotion expressed.\\nIt is a frequent element in vocal expression and is a great\\nadditional help to impressive delivery. It is the natural,\\nunstudied tone of sorrow or compassion, and appropriate to\\nall expression appealing to human sympathy. When used\\nwith tremulous stress to express grief, sorrow, etc., the\\neffect is greatly increased.\\nRESEMBLANCE.\\nThis tone color resembles the gentle bleating of a lamb,\\nthe low whine of a dog, the soft7noaning of the wind, etc.\\nRESONANCE.\\nThe resonance is in the forward part of the mouth cavity.\\nWHEN USED.\\nPlaintive Tone Color is used in the expression of plead-\\ning, entreaty t supplication, contrition, tenderness, compassion,\\nfatigue, coaxing, ivhining, moaning, wheedling, hypocrisy,\\npity, pain, grief, sorrow, etc.\\nHOW ACQUIRED.\\nNarrow the mouth cavity to reduce the size of the reso-\\nnance hall, and prolong the word oh! in a thin, weak ton,e,\\nrather high in pitch and with subdued force.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0021.jp2"}, "22": {"fulltext": "i8\\nExamples for Practice:\\nPLAINTIVE.\\nZ,ow.\\n[From The Young Gray Head.\\nWho says I forgot?\\nMother, indeed, indeed I kept fast hold,\\nAnd tied the shawl quite close, she can 7 be cold\\nBut she won t move we slept, I don t know how,\\nBut I held on, and Pm so weary now,\\nAnd if s so dark and cold! Oh dear! oh dear I\\nAnd she won t move if father were but here! 11\\nAll night long from side to side she turned,\\nPiteously plaining like a wounded dove,\\nWith now and then the murmur, She won t move. 11\\nCaroline A. Southey.\\nMedium.\\n[From Give Me Three Grains of Corn, Mother.\\nGive me three grains of corn, mother,\\nOnly three grains of corn\\nIt will keep the little life I have,\\nTill the coming of the morn.\\nI am dying of hunger and cold, mother,\\nDying of hunger and cold,\\nAnd half the agony of such a death\\nMy lips have never told.\\nMiss Edwards.\\n[From the Tragedy Fazio.\\nBianca. Not all the night, not all the long, long night,\\nNot come to me! not send to me! not think on me.\\nRev. H. H. Millman.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0022.jp2"}, "23": {"fulltext": "19\\n[From the Tragedy King John.\\nArthur. Oh, save me Hubert, save me My eyes are out,\\nEven with the fierce looks of these bloody men.\\nHubert. Give me the iron, I say, and bind him here.\\nArthur. Alas what ?ieed you be so boisterous rough\\nI will not struggle, I will stand stone still.\\nFor Heaven s sake Hubert, let me ?wt be bound\\nNay, hear me Hube? t I Drive these men away,\\nAnd I will sit as quiet as a lamb\\nI will not stir, nor wince, nor speak a word.\\nNor look upo?i the irons angerly.\\nThrust but these men away, and Til forgive you,\\nWhatever torment you do put me to.\\nShakespeare.\\nLoud.\\n\\\\_From Mark Antony s Address to the Romans.\\nJulius Oesar.\\nMark Antony.\\nO, now you weep and I perceive, you feel\\nThe dint of pity these are gracious drops.\\nKind souls, what, weep you, when you but behold\\nOur Caesar s vesture wounded? Look you here,\\nHere is himself, marr d as you see, with traitors.\\n1 Cit. O piteous spectacle\\n2 Cit. O noble Ccesar\\n3 Cit. O vuoeful day\\nShakespeare.\\nKing David y s Lament. 2 Sam. xviii 33.\\nAnd the king was much moved, and went up to the\\nchamber over the gate, and wept and as he went thus he\\nsaid, O my son Absalom my son, my son Absalom\\nwould to God I had died for thee. O Absalom, my son,\\nmy son\\nFrom the Bible.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0023.jp2"}, "24": {"fulltext": "[From the Drama Our Bitterest Foe.\\nHenri to Blanche.\\nHenri. A few weeks back I was left upon the field,\\nwounded and helpless; my brother lay a corpse some\\ntwenty yards away; upon my right my dearest friend\\nmoaning for water that I could not give. Throughout that\\ndreadful night I thought of you, and, God knows how bit-\\nterly, of all my faults, and then the morning broke, and\\nthen, as the hot sun streamed upon the faces of the cold,\\ngray dead, a bird sang high in the heavens above, and all\\nhis song was love and hope and Blanche and as I fainted\\ninto what seemed death, a face bent o er me, blessing me.\\nIt was the face of Blanche. And now, weak, weary, con-\\nquered, I have come to kneel down humbly at your feet,\\nand say, forgive me, Blanche if you can still forgive.\\nG. C. Herbert, Esq.\\nOROTUND TONE COLOR.\\nDEFINITION.\\nOrotund Tone Color is the natural tone deepened and\\nrounded to its utmost volume. It must be round, full, rich\\nand grand. In its perfection it is the grandest and most\\nbeautiful tone color of the human voice.\\nREMARKS.\\nOrotund is distinguished by a certain musical richness\\nand roundness of tone rarely heard in untrained voices,\\nand never in its highest excellence except by long and\\ncareful cultivation. Although possessed naturally by but\\nvery few, yet it may be cultivated and acquired in some\\ndegree by all with persevering practice.\\nPractice upon this tone color is highly beneficial to\\nhealth, and almost more than any other exercise imparts\\nrichness and power to the voice.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0024.jp2"}, "25": {"fulltext": "RESEMBLANCE.\\nThe quality of the Orotund resembles the music of\\ndeep-toned bells, the grand to?ies of a church organ, the roar\\nof the lion, the deep baying of the bloodhound, the rolling\\nof thunder, etc.\\nRESONANCE.\\nThe resonance is in the chest, with strong action of the\\nabdominal muscles.\\nWHEN USED.\\nOrotund Tone Color is used in the expression of the\\nhighest and loftiest thoughts that animate the human mind\\nSublimity, grandeur, dignity, reverence, devotion, love, ador-\\nation, inspiration, bold, lofty senti??ienls, etc.\\nHOW ACQUIRED.\\nInhale a full, deep breath, draw up the vitals, expand the\\nchest, depress the larynx, round the lips, and give out the\\nsound of o in a full, round, deep tone.\\nNote. The sound of long d is the most beautiful sound in our lan-\\nguage, and the orotund, or round tone, the most beautiful tone.\\nExamples for Practice\\nORPTUND.\\nLow.\\n[From u Address to the Deity.\\nO thou eternal One Thou only God\\nBeing above all beings Mighty One\\nBeing whom we call God\\nDerzhaven.\\nRoll on, old ocean, roll. Orig.\\n\\\\_From Apostrophe to the Ocean.\\nRoll on, thou deep and dark blue ocean, roll\\nLord Byron,", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0025.jp2"}, "26": {"fulltext": "Medium.\\n\\\\_From Address to the Sun.\\nO Thou that rollest above, round as the shield of my\\nfathers whence are thy beams, O Sun thy everlasting\\nlight Thou comest forth in thy awful beauty j the stars\\nhide themselves in the sky; the moon, cold and pale,\\nsinks in the western wave. But thou thyself movest above\\nO ssi an.\\n[Front\u00e2\u0080\u0094 The Bells.\\nHear the tolling of the bells\\nIron bells\\nWhat a world of solemn thought their monody compels\\nIn the silence of the night,\\nHow we shiver with affright\\nAt the melancholy menace of their tone\\nFor every sound that floats\\nFrom the rust within their throats\\nIs a groan.\\nEdgar Allen Poe.\\nZ,oud.\\n[From The Building of the Ship.\\nThou, too, sail on, O Ship of State\\nSail on, O Union, strong and great\\nWe know what Master laid thy keel,\\nWhat Workman wrought thy ribs of steel,\\nWho made each mast, and sail, and rope,\\nWhat anvils rang, what hammers beat,\\nIn what a forge and what a heat\\nWere shaped the anchors of our hope\\nHenry Wadsworlh Longfellow.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0026.jp2"}, "27": {"fulltext": "[From The Bells of Shandon.\\nI ve heard bells chiming\\nFull many a clime in,\\nTolling sublime in cathedral shrine\\nWhile at a glib rate\\nBrass tongues would vibrate\\nBut all their music spoke naught like thine.\\nFrancis Mahoney.\\n\\\\_From Spartacus to the Gladiators at Capua.\\nYe call me chief; and ye do well to call him chief who\\nfor twelve long years has met upon the arena every shape\\nof man or beast the broad empire of Rome could furnish\\nand who never yet lowered his arm.\\nElijah Kellogg,\\nguttural tone color.\\nDEFINITION\\nGuttural Tone Color is a harsh, rough, grating, rasping,\\nrattling, discordant, throaty tone.\\nREMARKS.\\nIt is generally the effect of the most evil and malignant\\nfeelings, and except to express these passions should be\\nstudiously avoided. A touch of this tone color is some-\\ntimes heard in the voices of old men, and in the tones of\\nthose who habitually yield to their lower natures. It is the\\nundisguised voice of vice, the animal in man.\\nRESEMBLANCE.\\nThis tone color resembles the snarl and threatening\\ngrowl of a dog, the hoarse call of the crow, the croak of\\nthe raven, the blatant tone of goats, etc.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0027.jp2"}, "28": {"fulltext": "2 4\\nRESONANCE.\\nThe resonance is in the throat it is produced by vibra-\\ntions in the pharynx.\\nWHEN USED.\\nGuttural Tone Color is made use of in the expression of\\nanger, scorn, contempt, hatred, intense rage, loathing, etc.\\nHOW ACQUIRED.\\nPractice on the prolonged sound of a, continuing the\\nvibrations to the full extent of breath. In learning this\\ntone color care must be taken not to irritate the throat by\\nundue effort. Open the throat well, do not obstruct the\\nair current in its outward passage, and there will be no\\nrasping of the throat, if it is in a healthy condition.\\nExamples for Practice\\nGUTTURAL.\\nI say, scat scat Orig.\\n[From The Raven.\\nQuoth the Raven Nevermore.\\nE. A. Foe.\\n[From\u00e2\u0080\u0094 The Crow.\\n\u00e2\u0082\u00aci Caw caw\\nHaw haw\\nNo more storm\\nIt s warm wa-rm\\nAnd they ve planted corn\\nCo-rn Co-rn\\nAdeline D. T. Whitney.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0028.jp2"}, "29": {"fulltext": "25\\n\\\\From the Tragedy King Richard the Third.\\nRichard. That dogs bark at me as I halt by them.\\nAnd, therefore, since I cannot prove a lover,\\nTo entertain these fair well-spoken days,\\nI am determined to prove a villain,\\nAnd hate the idle pleasures of these days.\\nShakespeare.\\n\\\\_From Marmion and Douglas. J\\nMarmion. And if thou saidst, I am not peer\\nTo any lord in Scotland here,\\nLowland or Highland, far or near,\\nLord Angus, thou hast lied!\\nScott.\\n[From The Seminole s Defiance.\\nI loathe ye in my bosom,\\nI scorn ye with mine eye,\\nAnd I ll taunt ye with my latest breath,\\nAnd fight ye till I die\\nG. IV. Fatten.\\n\\\\_Fro?n the Drama Nick of the Woods.\\nGibbenainosay to Ralph Stackpole. Ha then you\\nsaw it, too. Wretch did you behold the roof- tree blaze,\\ncrackle, crash, topple, and fall? Did you see the flashing\\naxe descend? Did you see her warm, young blood gushing\\nin living streams, flashing, bubbling, flowing around your\\nfeet? and did you stand by without one blow? Eternal\\ncurses blast ye for it Were you as solid as the rooted\\nearth, hard as the massive rock, scorching as flame, or rag-\\ning as the sea thus, thus would I seize you by the throat", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0029.jp2"}, "30": {"fulltext": "26\\nand dash you down to hell Ha, ha, ha 1 The cry is up\\nand shouts aloud for vengeance Strike kill slay Blood\\nblood No peace no peace!\\nMiss L. H. Medina.\\nPECTORAL TONE COLOR.\\nDEFINITION.\\nPectoral Tone Color is a low, hollow, husky, sepulchral\\ntone.\\nREMARKS.\\nIt has somewhat the sound of a low orotund blended\\nwith the aspirate and guttural tones. It is low in pitch and\\ngenerally slow time. It is often the characteristic of voices\\nweakened by dissipation.\\nRESEMBLANCE.\\nThis tone color resembles the low, threatening growl of\\nthe lion, the subdued roaring of the gale, the whir of a saw-\\nmill, etc.\\nRESONANCE.\\nThe resonance is in the upper part of the chest with feeble\\naction of the abdominal muscles.\\nWHEN USED.\\nPectoral Tone Color is used to express awe, dread, des-\\npair, remorse, overwhelming horror, suppressed rage, and\\nto depict ghastliness, ghostliness, or anything pertaining to\\nthe supernatural, etc.\\nHOW ACQUIRED.\\nRelax the muscles of the throat, waist, and abdomen,\\nthen give the sound of o, in a low, hollow, husky tone.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0030.jp2"}, "31": {"fulltext": "27\\nExamples for Practice\\nPECTORAL.\\n[From Tam O Shanter.\\nCoffins stood round like open presses,\\nAnd showed the dead in their last dresses.\\nRobert Burns,\\n[From Darkness.\\nI had a dream, which was not all a dream\\nThe bright sun was extinguished and the stars\\nDid wander darkling in the eternal space,\\nRayless and pathless and the icy earth\\nSwung blind and blackening in the moonless air.\\nByron.\\n[From the Tragedy Macbeth.\\nMacbeth.\\nMethought I heard a voice cry, Sleep no more\\nMacbeth doth murder sleep the innocent sleep\\nSleep that knits up the ravel 1 d sleeve of care,\\nThe death of each day s life, sore labor s bath,\\nBalm of hurt minds, great nature s second course,\\nChief nouris her in life s feast:\\nLady Macbeth What do you mean?\\nMacbeth.\\nStill it cried, sleep no more, to all the house\\nGlamis hath murdered sleep; and therefore Gawdor\\nShall sleep no more Macbeth shall sleep no more\\nShakespeare.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0031.jp2"}, "32": {"fulltext": "28\\n[From the Play Hamlet.\\nGhost.\\nI am thy father s spirit\\nDoom d for a certain term to walk the night\\nAnd, for the day, confin d to fast in fires,\\nTill the foul crimes, done in my days of nature,\\nAre burnt and purged away. But that I am forbid\\nTo tell the secrets of my prison-house,\\nI could a tale unfold, whose lightest word\\nWould harrow up thy soul freeze thy young blood,\\nMake thy two eyes, like stars, start from their spheres\\nThy knotted and combined locks to part,\\nAnd each particular hair to stand on end,\\nLike quills upon the fretful porcupine\\nBut this eternal blazon must not be\\nTo ears of flesh and blood List, list, Oh, list\\nIf thou didst ever thy dear father love\\nShakespeare.\\nFALSETTO TONE COLOR.\\nDEFINITION.\\nFalsetto Tone Color is a high-pitched, sharp, shrill, head-\\ntone.\\nREMARKS.\\nIt has a false or artificial ring, and ranges far above the\\nnatural compass of the voice. Now and then you meet a\\nperson who uses this tone habitually, women more often\\nthan men.\\nRESEMBLANCE.\\nThe shrieking of engines, the whistling of the wind, the\\nscreeching of the owl. Inarticulate sounds like the cry,\\nscream, yell and all shrill tones are various shades of the\\nfalsetto.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0032.jp2"}, "33": {"fulltext": "2 9\\nRESONANCE.\\nThe resonance is in the head.\\nWHEN USED.\\nFalsetto Tone Color is used to express f rights pain, ter-\\nror, excitement, irritability, scolding, etc., and in persona-\\ntion, mimicry and burlesque.\\nHOW ACQUIRED.\\nDraw up the uvula into the veil of the palate, open the\\nthroat well, and cry out at the highest pitch of your voice,\\nthe exclamation, Oh!\\nExamples for Practice\\nFALSETTO.\\n[From The Jiners.\\nI s pose that s what everybody thinks but if they\\nknew what I ve suffered in ten years, they d wonder I\\nhadn t scalded him long ago. I ought to, but for the sake\\nof the young ones I ve borne it and said nothing. I ve\\ntold him, though, what he might depend on, and now the\\ntime s come I won t stand it, young ones or no young\\nones. I ll have a divorce, and if the neighbors want to\\nblab themselves hoarse about it they can, for I won t\\nstand it another day.\\nAnon.\\n[From The Green Mountain Justice.\\nQuoth Rachel, What a pity tis\\nTo joke at such a time as this\\nA man whose wife is being hung\\nShould know enough to hold his tongue.\\nAnon.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0033.jp2"}, "34": {"fulltext": "3\u00c2\u00b0\\nBut, ma am, the steward interfered,\\nThe wessel must be cleared,\\nYou mustn t stay aboard, ma am, no one don t\\nIt s quite ag in the orders so to do,\\nAnd all the passengers is gone but you.\\nSays she, I cannot go ashore and won t\\nHe\u00e2\u0080\u0094 You ought to\\nShe.\u00e2\u0080\u0094 But I can t\\nHe.\u00e2\u0080\u0094 You must!\\nShe.\u00e2\u0080\u0094 I shan t.\\n[From How We Hunted A Mouse.\\nO Joshua a mouse, shoo wah shoo a great ya,\\nshoo horrid mouse, and she-ew it ran right out of the\\ncupboard shoo go way. Oh, mercy Joshua shoo\\nkill it, oh, my shoo Joshua Jenkins.\\nNote. The pupil having mastered the Standard Tone Colors can\\nnow proceed to the study of the Objectionable Tone Colors.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0034.jp2"}, "35": {"fulltext": "(Objectionable (Lorn\\nColors,\\nThe Objectionable Tone Colors are\\nNasal, Catarral, Oral, Mincing and Piping.\\nObjectionable Tone Colors should be used only in per-\\nsonation, mimicry and burlesque.\\nOtherwise used they are faulty and defective, and most\\ncertainly objectionable. The habitual use of these faulty\\ntones should be strictly avoided by those who have them not,\\nand diligently overcome by those who have them.\\nUsed understanding^ they will not harm the voice but\\nact rather as a cure-all for faulty tones, and incline to render\\nthe natural voice more flexible and the natural talents more\\nversatile.\\nTo have all these Tone Colors at command is much to be\\ndesired by the impersonator, humorist, reader and actor.\\nNASAL TONE COLOR.\\nDEFINITION.\\nNasal Tone Color is a harsh, twangy, unpleasant tone.\\nREMARKS.\\nThis faulty tone of voice is common and the pupil is\\ncautioned against its habitual use. Many persons uncon-\\nsciously fall into the habit of speaking in a more or less\\nnasal tone, and it is well to understand the characteristics\\nof this tone color that you may learn how to avoid its use\\nwhen improper, as well as to have it at your command when\\npersonation requires.\\nRESEMBLANCE.\\nIt resembles the honk of the wild goose.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0035.jp2"}, "36": {"fulltext": "32\\nRESONANCE.\\nNasal Tone Color has its resonance in the nasal chamber\\nand the sound is emitted through the nasal passages.\\nNote. In sounding the nasal consonants, m, n and ng, the vibrat-\\ning column of air that produces them is forced to pass outward through\\nthe nose, in sounding ;/z, the lips are completely closed. All the con-\\nsonants except the nasals should be uttered with the nasal chamber\\nclosed. In uttering the vowel sounds the nasal chamber is more or\\nless shut off from the pharynx by means of the uvula and air current\\nemitted almost solely through the mouth. It is practically impossible\\nto utter the vowel sounds with the mouth closed, but they can be\\npurely sounded without any air passing through the nose, while it is\\nalso impossible to sound them purely if the air is allowed to escape\\nfreely through the nose.\\nLet the pupil demonstrate this truth; first by giving the vowel sounds\\nwhile holding the nose, also while directing the current of air up into\\nthe nasal chamber and out through the nose.\\nIt will be readily seen that in a pure clear tone of voice the expired\\nair passes out chiefly through the mouth, while too much speaking\\nthrough the nose causes the nasal tone.\\nHOW ACQUIRED.\\nGive the nasals m, n and ng, prolonging the vibrations.\\nDirect the current of air up into the nasal chamber, giving\\nout a nasal murmur. Place the tip of the forefinger be-\\ntween the eyebrows until you can feel the vibrations.\\nDrop the lower jaw and prolong the syllable ong.\\nNote. Sufficient practice on these exercises will make the voice\\nmore sonorous.\\nExamples for Practice\\nNASAL.\\n[From The Courtin.\\nGod makes sech nights, all white and still\\nFur z you can look or listen,\\nMoonshine an snow on field an hill,\\nAll silence an all glisten.\\nJames Russell Lowell.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0036.jp2"}, "37": {"fulltext": "33\\n[From Widow Bedott Papers.\\nIf I d such a husband as Bill Jinkins was I d hold my\\ntongue about my neighbors husbands. He was a dretful\\nmean man, used to git drunk every day of his life, an he\\nhad an awful high temper, an I ve heard my husband\\nsay (an he wa n t a man that ever said anything that wa n t\\ntrue), I ve heard him say Bill Jinkins would cheat his own\\nfather out of his eye teeth if he had a chance.\\nF. M. Whitcher.\\n[From Darius Green and his Flying Machine.\\nDoos the little chatterin, sassy wren,\\nNo bigger n my thumb, know more than men?\\nJest show me that\\nUr prove the bat\\nHaz got more brains than s in my hat,\\nAnd I ll back down, an not till then\\nHe argued further Nur I can t see\\nWhat s th use o wings to a bumble-bee,\\nFor to git a livin with, more n to me\\nAin t my business\\nImportant s his n is?\\ny. T. Trowbridge.\\n[From The One Horse Shay.\\nBut the deacon swore, (as deacons do),\\nWith an I dew vum or an tell yeou\\nHe would build one shay to beat the taown\\nW the keounly V all the ken try araourC\\nIt should be so built that it could* n* break daown\\nFur, said the deacon, T s mighty plain\\nThat the weakes 1 place mus 1 start the strain", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0037.jp2"}, "38": {"fulltext": "34\\nW the way f fix it, uz I maintain\\nIs only jest\\nT 7 make that uz strong uz the rest. 11\\nOliver Wendell Holmes.\\nCATARRHAL TONE COLOR.\\nDEFINITION.\\nCatarrhal Tone Color is a cloudy, husky, obstructed, dis-\\nagreeable tone.\\nREMARKS.\\nIt is usually caused by disease or some mal-formation of\\nthe organs of speech. The nasal chamber is unhealthy, the\\nnasal passages obstructed, so that little or no air passes\\nthrough them. This prevents the sounding of the nasal\\nelements, and the nasals m, n and ng are thus changed to\\nb, d, and g.\\nCatarrhal Tone is often confounded with Nasal Tone,\\nhence arises that diversity of opinion as to the truth of the\\nnasal tone being caused, as is commonly said, by speaking\\nthrough the nose.\\nOne is exactly the reverse of the other in Catarrhal\\nTone little or no air is allowed to escape through the nose,\\nwhile in Nasal Tone the current of air is directed into the\\nnasal chamber and passes out through the nose.\\nRESEMBLANCE.\\nCatarrhal Tone Color is that tone of voice used by a per-\\nson having a severe head cold, or afflicted by catarrh.\\nHOW ACQUIRED.\\nContract the nostrils so as to obstruct the air current,\\nthen talk or read. In learning close the nostrils by means\\nof the thumb and forefinger.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0038.jp2"}, "39": {"fulltext": "35\\nExamples for Practice\\nCATARRHAL.\\n\\\\_From A Ker Chew Duet.\\nSusad he begm again, grasping her hand with fervor,\\nand clutching his handkerchief with equal earnestness,\\nwhat is libe without love? Dothing. Darltg, do you, cad\\nyou love be e dough to be by ah-ah-ooh-cheiv! You ll be\\nbide, all bide he gasped. 1 will y Hedry, I will she\\nhoarsely whispered.\\nAnon.\\n[From Lides to Bary Jade.\\nThe bood is beabing brightly love,\\nThe sdars are shidig too\\nWhile I ab gazig dreabily\\nAdd thinkig, love, of you\\nYou caddot, oh, you caddot kdow,\\nBy darlig, how I biss you\\n(Oh, whadt a fearful cold I ve got)\\nCk-tish-u Ck-ck-tish-u\\nScrib ner s Mo n th h\\nORAL TONE COLOR.\\nDEFINITION.\\nOral tone color is a thick, indistinct mouthing tone.\\nREMARKS.\\nThis is a faulty tone often heard, but it is not as com-\\nmon as the nasal.\\nHOW ACQUIRED.\\nRound the lips, narrow the mouth cavity, thicken up the\\ntongue and mouth your words.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0039.jp2"}, "40": {"fulltext": "36\\nExamples for Practice\\nORAL.\\n\\\\_From Lord Dundreary at Brighton.\\nNow I weckomember, I made thuch a jolly widdle the\\nother day on the Ethplanade. I thaw a fellah with a big\\nNew- Newfoundland dog, and he inthpired me the dog,\\nyou know, not the fellah, he wath a lunatic.\\nI m keeping the widdle, but I don t mind telling you.\\nWhy does a dog waggle hith tail\\nGive it up? I think motht fellahs will give that up.\\nYou thee, the dog waggles hith tail becauth the dog s\\nstwonger than the tail, if he wathn t, the tail would waggle\\nthe dog.\\n[From A Racy Stump Speech.\\nLoud.\\nFeller-citizens and the wimmin I repeat it, and from the\\ntop-most peak of the Ozark Mountains bid defiance to the\\nhull earth, by hollerin Who s afeard, in such thunderin\\ntones, that quakin with fear, you ll forget what danger is.\\nDon your rusty regimentals, and wipe the flints of your\\nold guns beat up your scythes and make swords of\\nthem, put on your huntin shirts, mount your hosses, and\\nsave the nation, or bust.\\nAnon.\\nMINCING TONE COLOR.\\nDEFINITION.\\nMincing Tone Color is a tone of cultivated affectation\\ncharacterized by primness and artificial nicety. It is too\\noften adopted by wish-to-be-thought cultured people and\\nthe would-be aesthetic.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0040.jp2"}, "41": {"fulltext": "37\\nREMARKS.\\nNot a few of the so-called gentler sex and alas, some\\nof the should be sterner sex entertain the foolish idea\\nthat to speak in a clear, full tone of voice is uncultured or\\nunaesthetic and mince out their words in a soft artificial\\ntone that instead of being pleasing to the ear is trying to the\\nnerves, sounds silly and affected, and creates an unfavor-\\nable impression upon the mind of common-sense hearers.\\nHOW ACQUIRED.\\nDraw in the corners of the lips and speak in a soft sub-\\ndued tone of voice, with affected nicety, giving undue em-\\nphasis to consonant sounds and not sufficient force to vow-\\nel sounds.\\nExamples for Practice:\\nMINCING.\\n[From Too Utterly Utter.\\nOh no, pa; you don t understand me, the daughter\\nexplained I mean this horse and wagon. Do you think\\nthey are soulful? do you think they could be studied\\napart in the light of a symphony, or even a single poem\\nand appear as intensely utter to one on returning home as\\none could wish?\\nAlbany Chro?iicle.\\n[From Awfully Lovely Philosophy.\\nBrooklyn girl. Tell me about protoplasm. I know I\\nshould adore it.\\nBoston girl. Deed you would. It s just too sweet to\\nlive. You know it s about how things get started, or some-", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0041.jp2"}, "42": {"fulltext": "38\\nthing of that kind. You ought to hear Mr. Emerson talk\\nabout it. It would stir your very soul. The first time he\\nexplained about protoplasm there wasn t a dry eye in the\\nhouse. We named our hats after him. This is an Emer-\\nson hat. You see the ribbon is drawn over the crown and\\ncaught with a buckle and a bunch of flowers. Then you\\nturn up the side with a spray of forget-me-nots. Ain t it\\njust too sweet? All the girls in the school have them.\\nAnon.\\n[From A Railway Matinee.\\nYou misunderstand him, interrupted the precise woman.\\nHe was probably about to remark that no reference\\nwhatever had been intentionally made to the departure of\\nany person from the train, when you interrupted him in\\nthe midst of an unfinished sentence, and hence obtained\\nan erroneous impression of the tenor of his remarks.\\nR. Burdette.\\nPIPING TONE COLOR.\\nDEFINITION.\\nPiping Tone Color is a thin, peculiar, undeveloped tone,\\ninclined to be rather high in pitch.\\nREMARKS.\\nThis tone color has a half-grown, misplaced sound, as if\\nthe tone were squeezed or unformed. It is noticable be-\\ncause of its pecularity and unexpectedness. For instance,\\nsome men s voices sound like boys or women s tones.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0042.jp2"}, "43": {"fulltext": "39\\nExample for Practice\\nPIPING.\\n[From The Pied Piper of Hamelin.\\nPied Piper.\\nPlease your honors, said he I m able,\\nBy means of a secret charm, to draw\\nAll creatures living beneath the sun,\\nThat creep, or swim, or fly, or run,\\nAfter me so as you never saw\\nAnd I chiefly use my charm\\nOn creatures that do people harm,\\nThe mole, the toad, the newt, the viper\\nAnd people call me the Pied Piper.\\nAnd as for what your brain bewilders,\\nIf I can rid your town of rats\\nWill you give me a thousand guilders\\nRobert Browning.", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0043.jp2"}, "44": {"fulltext": "NOV 17\\nGUSTINE-COOTS,\\nORATORY, DRAMATIC ART,\\n23 ANDREW STREET,\\nSALEM, MASS.", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0044.jp2"}, "45": {"fulltext": "", "height": "4622", "width": "2836", "jp2-path": "elocutionarymanu00coot_0045.jp2"}, "46": {"fulltext": "", "height": "4645", "width": "2682", "jp2-path": "elocutionarymanu00coot_0046.jp2"}}