To the following magazines for permission to reprint: "American Magazine," for "His Place in the Line," by Marion Hill; "A Little Change for Edward," by Mary Stewart Cutting; "Underneath the Highcut Vest," by Edna Ferber. "Cosmopolitan Magazine," for "The World's Sublimest Spectacle" (copyright, Sept., 1915, by The International Magazine Co.). To "Everybody's Magazine," for "The Battle of Pankow," by Geo. W. Johnston. To "Lippincott's Magazine," for "The Legacy," by J. J. Bell; "Where There's a Will," by Ellis Parker Butler; "When Ma Rogers Broke Loose," by Hicks Bates Broderson. To the "Playboy Magazine," for "Pebble Song and Waterfall," by Alfred Kreymborg. To the "Smart Set Magazine," for "The Wanderer's Litany," by Arthur Stringer; "The Universal Impulse," by Mrs. Wilson Woodrow. To the "Theater Arts Magazine," for "Moonshine," by Arthur Hopkins. To the estate of Marion Hill for "His Place in the Line," by Marion Hill. PREFACE Though obliged to omit many desired selections because of copyright restrictions, the author has endeavored to gather, largely such material as may be found useful for class purposes, study and practise, in earlier work in Expression. For the most part the selections are by American authors, and many by contemporary writers. It has been found frequently, that the classics do not serve to establish the elements of true responsiveness which should be sought for in the beginning, and, indeed, throughout all work in Expression. In some cases, past analytic study seems to be the cause; and in others, a lack of present interest in the material. Classics are perhaps better studied in a second year of work, when the channels of expression have been somewhat freed and the student has a better understanding and use of his means of Expression. First year work should aim, it seems to the author, at an all round responsiveness in the individual. Finished interpretation of material should not be its aim. The author has in mind work being given in classes of fifteen or more, purely elective, where the group represented is in no sense a chosen one with special talent for Expression, but one of widely differing personalities, abilities, training and cultural background. A goodly portion of material in poetic form has been included as it offers the best medium for vocal training and emotional response desirable for initial practise. Prose selections covering the short story, allegories, bits of description, and speeches in blank verse, have been included in sufficient number to permit of practise in these various prose forms. The speeches from Shakespeare may be used for study of conversational form, with reference particularly to emphasis and phrasing. Some work should be done in the beginnings of impersonation and the scenes will be found useful for this purpose. Much of the prose material is longer than will do for the timed "piece" to be used in contests calling for individual time limits. Though abridged in many instances, it was purposely left longer than such contests permit. First, because to so time a selection frequently ruins the story, and secondly, because more values accrue in the student through the study and delivery of longer selections. If the objection is made that these stories are too long to memorize, it is suggested that memorized presentation is not necessarily the be all and end all of work in Expression. Train students to use the text in delivering material, and a great portion of the glaring faults of false, artificial, elocutionary performances, so long a connotation on work in Expression, will be eliminated. Again, if desired, in most of the stories a further abridgement will be found possible. Such arranging should be left to those who wish to use the material, as much benefit may be derived from the attempt at abridgement. It is hoped that this book may be of service to those who are working in the High Schools as well as the Colleges, and it is in response to many calls for suggestions concerning programs, books of selections, conduct of declamatory contests, etc., that reference is made to these matters at the close of the book. If these suggestions, or any of the material in this book, prove of assistance to those who are desirous of making work in Vocal Expression of more educational value, the author will feel repaid for having made the compilation. |