Teacher-The fourth part is "Memory." Explain that.

Pupil-Memory is the faculty of clearly discerning and remembering our ideas, and of calling to mind the fittest words by which to express them.

Teacher-The fifth part is "Enunciation." What are we to understand by that?

Pupil-The art of managing the Voice, Look and Gesture in speaking.

Teacher-What did the ancients understand by enunciation?

Pupil To make the ideas seem to come from the heart, they will then not fail to arrest the attention and affections of the hearers. Teacher-The more we study this art (that is, the fundamentals of it), the better qualified we will be for the work.

Before closing this lesson there are three things I want to impress upon you and they are absolutely necessary for success. Gentleness, Patience and Perseverance.

If it is your desire to study for the professional stage, either the "Spoken" or the "Silent Drama," study these suggestions carefully and honestly; don't get discouraged, but show your ambition by your preparation.

EXERCISE

(To be memorized by the pupil, applying the methods of
Voice, Look and Gesture.)

THE WORLD COMPARED TO A STAGE

ALL the world's a stage,

And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first, the infant,
Mewling and puking in his nurse's arms:
And then, the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then, the lover,
Sighing like furnace, with a woful ballad

Made to his mistress' eyebrow. Then, the soldier,
Full of strange oaths, and bearded like the pard,

Jealous in honour, sudden and quick in quarrel;

Seeking the bubble reputation

Even in the cannon's mouth. And then, the justice,
In fair round belly, with good capon lined,
With eyes severe, and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose, and pouch on side;
His youthful hose well saved, a world too wide
For his shrunk shanks; and his big manly voice,
Turning again towards childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,

Is second childishness, and mere oblivion:

Sans teeth, sans eyes, sans taste, sans everything.

-As You Like It.

QUESTIONS

If you cannot answer all questions, make a note of them, and have them ready for the review, which will be held from time to time.

1. What is necessary for you, in this work, to thoroughly comprehend it?

2. Can you make an impromptu speech?

3. Have you ever had, what we term, "stage fright"?

4. Can you tell why you should have "stage fright"?

5. When called upon for an address, are you nervous?

6. Can you think clearly while standing?

7. Do you know how to make correct gestures?

8. Do you realize that every gesture must have a meaning?

9. What is the object of these lessons?

10. What is required of you to make a success of this work?

11. Write from memory what Quintillian said about elocution.

12. Write a definition of the word "eloquence".

13. Where would you find out about Quintillian?

14. In "walking," "standing," "stopping," do you know whether you are correct or not?

15. What did Demosthenes say the three things in oratory were?

16. What did he mean by "enunciation"?

17. Why are men called actors?

18. What do you know of Cicero?

19. Into how many parts do we divide oratory?

20. What are they?

21. Write from memory (don't refer to the lesson page), what you understand by each part.

22. What do we mean by elocution?

23. Of what does "Diction" consist?

24. Write from memory what you understand by "Memory".

25. What do we understand by "Enunciation"?

26. Is there a method for doing things on the stage?

27. Write what you understand by Centre, Right and Left.

28. What is the great object of enunciation ?

29. Give a short essay as to how you would study a story for public reading.

THIRD LESSON

Teacher-I want to impress upon you again the thought of testing out all the ideas as you receive them and I will guarantee you

success.

They are all so simple when you once comprehend them.

In a conversation with the late Joseph Jefferson, whom I had the pleasure of playing with for two years, he said, "the trouble with so many who take up the study of dramatic art is, they have an idea that there are so many things to remember, it appears as intricate as a cob-web, when, in very truth, it is all so plain."

This, you will agree with after you have made a study of this course.

We have walked upon the stage, or platform, taken our position, and know the right way to do it.

We stood there with our arms at our side, but we must use, not only our arms, hands and feet, but the whole body must work in harmony.

I have noticed on the stage and platform many men and women who do not seem to know what to do with their hands when before an audience.

From the way they manage them, you would suppose they had lost an arm, for they never seem to use but one for all gestures.

Some of them would be at a loss if they could not put their hands in their pockets, or try to lose them in some way. Some women would be absolutely at a loss to know just what to do with their hands, were you to deprive them of the fan, the handkerchief, or a flower, their hands seem to annoy them, not knowing just what to do.