Page 41 - The model orator, or, Young folks' speaker : containing the choicest recitations and readings from the best authors for schools, public entertainments, social gatherings, Sunday schools, etc. : including recitals in prose and verse ...

Seizing it, scot and lot., ringing it round with ropes,
The homes they liad straitly won through fire and blood and pain

While ever up from the eaith, or fallen far through the airr
Goes a shuddering ethnic moan, the saddest of all sad sounds;

The cry of an outraged race that is driven otherwhere,
. The Indian’s heart-wrung wail for his hapless Hunting Grounds.
R ich a rd B urto n.

LESSON TALK.

The first line gives the key-note of this selection. It is tragedy—commonplace
and homely, but nevertheless tragic and pathetic in iia own way. There is an
ominous undertone running through, it from beginning to eiul.
The reader must be in sympathetic relation to his story. His attitude, fnciai
expression and every gesture must give a trend to the thoughts of his hearers
before he speaks a word. If lie realizes keenly and sympathetically what a tragud^’
it all is, Ins voice will readily report attitude, both of body aud of mind.
Assume an attitude as if seeing afar, at the moment, the terrible scene. The
voiee should he low-pitched and filled with sympathetic dread.
Bring out the pictures—word-pietures—as vividly as possible. Do not hurry-—
do not hurry ever in presenting thoughts. It takes time, inCnitcssimHl though it
Seem to human powers of measurement, for the voice to travel to the ears of the
hearers and then for the thought to travel to their consciousness. Let the mind
poise on the salient points, thus making the^n definite and in sharp relief Against
the general background of the theme. This does not mean a dragging of the
reading -it is poising of mind, time for intense thought, uot a stopping of mental
action.
Let tlie recitation gain constantly in intensity and force.
Wherever a bit of beautiful descr iption occurs, as for instance in the latter part
of the first verse, lighten the voice and sofLen the expression to make the relief
positive and sharpen the antitheses. Bring out in full, generous tones the tribute
;.'j innate chivalric manhood in the eighth and ninth verses.
It is the lights and shadows that bring out the oil-painting and make a great
work of art so far as technique is concerned. The laws of art are universal and
thus are as true of word-painting as of that by the brush.
The verse next to the last marks the climax. Pause long after it to let the
e fleet deepen, of what has gone before and of what is to come, and then tell the last
of the snd story in subdued, sympathetic tones. If the interpretation of this poem
fads to hold up the brotherhood of man Find incite greater realisation of the tragedy
of every day, homely life all ahouL us, it has failed utterly of its true intent. The
reader who fails to elevate and inspire his hearers, falls short of his high calling.