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STANDARD SELECTIONS


A COLLECTION AND ADAPTATION OF SUPERIOR
PRODUCTIONS FROM BEST AUTHORS
FOR USE IN CLASS ROOM AND
ON THE PLATFORM



ARRANGED AND EDITED BY


ROBERT I. FULTON

DEAN OF THE SCHOOL OF ORATORY AND PROFESSOR OF ELOCUTION
AND ORATORY IN THE OHIO WESLEYAN UNIVERSITY


THOMAS C. TRUEBLOOD

PROFESSOR OF ELOCUTION AND ORATORY IN THE
UNIVERSITY OF MICHIGAN

AND

EDWIN P. TRUEBLOOD

PROFESSOR OF ELOCUTION AND ORATORY IN EARLHAM COLLEGE



GINN AND COMPANY
BOSTON . NEW YORK . CHICAGO . LONDON
ATLANTA . DALLAS . COLUMBUS . SAN FRANCISCO


COPYRIGHT, 1907, BY
R. I. FULTON, T. C. TRUEBLOOD, AND E. P. TRUEBLOOD


ALL RIGHTS RESERVED

The Athenaeum Press

GINN AND COMPANY . PROPRIETORS
BOSTON . U.S.A.




PREFACE


The purpose of the compilers of this volume is:--

_First_, to provide some new material in poetry and eloquence that has
never before appeared in books of this character, in addition to many
standard selections familiar to the general public;

_Second_, to furnish selections that will stand the test of literary
criticism and at the same time prove to be popular and successful for
public entertainment;

_Third_, to offer for the use of classes in public speaking such
carefully selected literature of varied scope as will be helpful and
stimulating in the practice of reading aloud and profitable in acquiring
power of vocal interpretation;

_Fourth_, to stimulate interest in the works of the authors from whom we
have chosen and in the speeches or books from which extracts have been
taken;

_Fifth_, to present as models for students in public speaking notable
specimens of eloquence, among which are masterpieces of the seven great
orators of the world and from the six great triumphs in the history of
American oratory;

_Sixth_, to provide carefully chosen scenes from a few standard, modern
dramas for class-room and platform use. In these scenes the attempt has
been made to preserve the spirit and unity of the plays, to shorten them
to practical length, and to adapt them to the demands of the public
audience.

To avoid reprinting material which is already universally accessible, we
have inserted no scenes from Shakespeare; but the reader is referred to
Fulton and Trueblood's "Choice Readings" (published by Ginn and
Company), which contains copious Indexes to choice scenes from
Shakespeare, the Bible, and hymn-books. The two volumes include a wide
field of literature best suited for public speaking.

The selections throughout the book are arranged under six different
classes and cover a wide range of thought and emotion. While many shades
of feeling may be found in the same selection, it has been our aim to
place each one under the division with which, as a whole, it is most
closely allied.

We are grateful to the many authors and publishers who have courteously
permitted us to use their publications. Instead of naming them in the
preface we have chosen to make due acknowledgment in a footnote wherever
their selections appear in the volume.

F. AND T.




CONTENTS

I

NARRATIVE, DESCRIPTIVE, PATHETIC

PAGE
Arena Scene from "Quo Vadis?" The _Sienkiewicz._ 1

Arrow and the Song, The _Longfellow._ 8

Aux Italiens _Lytton._ 8

Bobby Shafto _Henry._ 12

Carcassonne _Nadaud._ 13

Child-wife, The _Dickens._ 15

Count Gismond _Browning._ 21

Death of Arbaces, The _Lytton._ 25

Dora _Tennyson._ 32

Easter with Parepa, An _Delano._ 37

Evening Bells, Those _Moore._ 41

Ginevra _Coolidge._ 42

High Tide at Lincolnshire, The _Ingelow._ 47

How Did You Die? _Cooke._ 52

Indigo Bird, The _Burroughs._ 53

Jackdaw of Rheims, The _Barham._ 54

Jaffar _Hunt._ 57

Jim Bludsoe _Hay._ 59

King Robert of Sicily _Longfellow._ 61

Lady of Shalott, The _Tennyson._ 67

Legend of Service, A _Van Dyke._ 72

Little Boy Blue _Field._ 76

Mary's Night Ride _Cable._ 77

Nydia, the Blind Girl _Lytton._ 80

O Captain, My Captain! _Whitman._ 88

On the Other Train _Anon._ 89

Pansy, The _Anon._ 92

"Revenge," The _Tennyson._ 94

Rider of the Black Horse, The _Lippard._ 98

Sailing beyond Seas _Ingelow._ 101

Sands of Dee, The _Kingsley._ 102

School of Squeers, The _Dickens._ 103

Secret of Death, The _Arnold._ 110

Shamus O'Brien _Le Fanu._ 113

Ships, My _Wilcox._ 117

Soldier's Reprieve, The _Robbins._ 118

Song, The _Scott._ 123

Stirrup Cup, The _Hay._ 124

Swan-song, The _Brooks._ 125

Sweet Afton _Burns._ 129

Violet's Blue _Henry._ 130

Waterfowl, To a _Bryant._ 132

Wedding Gown, The _Pierce._ 133

When the Snow Sifts Through _Gillilan._ 137

Wild Flower, To a _Thompson._ 138

Zoroaster, The Fate of _Crawford._ 139


II

SOLEMN, REVERENTIAL, SUBLIME


Centennial Hymn _Whittier._ 144

Chambered Nautilus, The _Holmes._ 145

Crossing the Bar _Tennyson._ 146

Destruction of Sennacherib, The _Byron._ 147

Each and All _Emerson._ 148

Laus Deo! _Whittier._ 149

Pilgrim Fathers, The _Hemans._ 151

Present Crisis, The _Lowell._ 152

Recessional, The _Kipling._ 155

Sacredness of Work, The _Carlyle._ 156

What's Hallowed Ground? _Campbell._ 157


III

PATRIOTIC, HEROIC, ORATORICAL


The Seven Great Orators of the World 159

I. Demosthenes

Encroachments of Philip, The 159

II. Cicero

Oration against Antony 162

III. Chrysostom

Undue Lamentations over the Dead 165
On Applauding Preachers 167

IV. Bossuet

On the Death of the Prince of Conde 169

V. Chatham

I. War with America 171
II. Attempt to Subjugate America 173

VI. Burke

I. Impeachment of Hastings 175
II. Conciliation with America 178
III. English Privileges in America 182

VII. Webster

I. Bunker Hill Monument 185
II. Revolutionary Patriots 188
III. Character of Washington 191

Six Great Triumphs in the History of American Oratory 193

I. Henry

Call to Arms, The 193

II. Hamilton

Coercion of Delinquent States 196

III. Webster

Reply to Hayne, The 199

IV. Phillips

Murder of Lovejoy, The 202

V. Lincoln

Slavery Issue, The 206

VI. Beecher

Moral Aspect of the American War 208

Abolition of War _Sumner._ 212

American Flag, The _Beecher._ 215

American People, The _Beveridge._ 217

American Question, The _Bright._ 218

America's Relation to Missions _Angell._ 220

American Slavery _Bright._ 222

Armenian Massacres, The _Gladstone._ 222

Battle Hymn of the Republic _Howe._ 225

Blue and the Gray, The _Lodge._ 226

Corruption of Prelates _Savonarola._ 228

Cross of Gold, The _Bryan._ 231

Death of Congressman Burnes _Ingalls._ 235

Death of Garfield, The _Blaine._ 237

Death of Grady, The _Graves._ 246

Death of Toussaint L'Ouverture _Phillips._ 239

Dedication of Gettysburg Cemetery, The _Lincoln._ 241

Fallen Heroes of Japan, The _Togo._ 242

Glory of Peace, The _Sumner._ 248

Hope of the Republic, The _Grady._ 249

Hungarian Heroism _Kossuth._ 250

International Relations _McKinley._ 251

Irish Home Rule _Gladstone._ 255

Lincoln _Castelar._ 258

Lincoln _Garfield._ 260

Louisiana Purchase Exposition _Hay._ 261

Man with the Muck-rake, The _Roosevelt._ 264

Message to the Squadron _Togo._ 271

Minute Man, The _Curtis._ 273

More Perfect Union, A _Curtis._ 275

Napoleon _Corwin._ 278

Napoleon _Ingersoll._ 279

National Control of Corporations _Roosevelt._ 280

Negro, The _Grady._ 283

New England _Quincy._ 284

New South, The _Grady._ 284

O'Connell _Phillips._ 290

Open Door, The _Henry._ 292

Organization of the World _Mead._ 294

Permanency of Empire, The _Phillips._ 296

Pilgrims, The _Phillips._ 297

Principles of the Founders _Mead._ 299

Responsibility of War, The _Channing._ 302

Scotland _Flagg._ 304

Secession _Stephens._ 243

Second Inaugural Address _Lincoln._ 305

Slavery and the Union _Lincoln._ 307

Subjugation of the Filipino _Hoar._ 309

Sufferings and Destiny of the Pilgrims _Everett._ 312

To Arms _Kossuth._ 313

True American Patriotism _Cockran_. 314

Vision of War _Ingersoll_. 315

War in the Twentieth Century _Mead_. 318

Washington _Phillips_. 321


IV

GAY, HUMOROUS, COMIC


A Boy's Mother _Riley_. 323

Almost beyond Endurance _Riley_. 324

Bird in the Hand, A _Weatherly_. 328

Breaking the Charm _Dunbar_. 325

Candle Lightin' Time _Dunbar_. 327

"Day of Judgment, The" _Phelps_. 330

De Appile Tree _Harris_. 335

Dooley on La Grippe Microbes _Dunne_. 337

Doctrinal Discussion, A _Edwards_. 340

Finnigin to Flannigan _Gillilan_. 343

Gavroche and the Elephant _Hugo_. 345

Hazing of Valiant, The _Anon_. 349

Hindoo's Paradise, The _Anon_. 353

If I Knew _Anon_. 354

Imaginary Invalid, The _Jerome_. 354

Jane Jones _King_. 357

Knee-deep in June _Riley_. 359

Little Breeches _Hay_. 362

Low-Backed Car, The _Lover_. 364

Mammy's Pickanin' _Jenkins_. 366

Mandalay _Kipling_. 368

Mr. Coon and Mr. Rabbit _Harris_. 370

Money Musk _Taylor_. 373

One-legged Goose, The _Smith_. 375

Pessimist, The _King_. 379

Schneider Sees Leah _Anon_. 380

Superfluous Man, The _Saxe_. 384

Usual Way, The _Anon_. 386

Wedding Fee, The _Streeter_. 387

When Malindy Sings _Dunbar_. 389

When the Cows Come Home _Mitchell_. 391


V

DRAMATIC, NOT IN THE DRAMA


Confessional, The _Anon._ 395

Jean Valjean and the Good Bishop _Hugo_. 400

Lasca _Anon._ 404

Michael Strogoff _Verne_. 408

Mrs. Tree _Richards_. 414

Portrait, The _Lytton_. 423

Tell-tale Heart, The _Poe_. 426

Uncle, The _Bell_. 431


VI

SCENES FROM THE DRAMA


Beau Brummell, Act I, Scene I; Act II, Scene 3 _Jerrold_. 468

Bells, The, Act III, Scene I _Williams_. 437

Lady of Lyons, The, Act II, Scene I; Act III,
Scene 2 _Lytton_. 441

Pygmalion and Galatea, Act I, Scene I; Act II,
Scene I _Gilbert_. 493

Rip Van Winkle, Act I, Scene I; Act II, Scene I _Irving_. 449

Rivals, The, Act I, Scene 2; Act II, Scene I;
Act III, Scene I; Act IV, Scene 2 _Sheridan_. 454

Set of Turquoise, The, Act I, Scene I; Act I,
Scene 2 _Aldrich_. 478

She Stoops to Conquer, Act II, Scene I _Goldsmith_. 486

INDEX OF AUTHORS 509




STANDARD SELECTIONS




I

NARRATIVE, DESCRIPTIVE, PATHETIC




THE ARENA SCENE FROM "QUO VADIS"[1]

HENRYK SIENKIEWICZ


The Roman Empire in the first century presents the most revolting
picture of mankind to be found in the pages of history. Society founded
on superior force, on the most barbarous cruelty, on crime and mad
profligacy, was corrupt beyond the power of words to describe. Rome
ruled the world, but was also its ulcer, and the horrible monster, Nero,
guilty of all hideous and revolting crimes, seems a fit monarch for such
a people.

A few years ago appeared "Quo Vadis?" the story from which this
selection is made. The book attained so great a popularity, that it was
translated into almost every tongue. In spite of its many faults, it
invited the attention, and, although it shocked the sensibilities, when
its great purpose was understood it melted the heart.

The author drew a startlingly vivid and horrible picture of humanity at
this lowest stage, and in conflict with it he showed us the Christ
spirit.

The extract is the story of how the young Vinicius, a patrician, a
soldier, a courtier of Nero, through the labyrinth of foul sin, of
self-worship and self-indulgence, with love for his guide, found his
way home to the feet of Him who commanded, "Be ye pure even as I am
pure."

It is the love story of Vinicius and the Princess Lygia, a convert to
Christ. The girl's happy and innocent life was rudely disturbed by a
summons to the court of the profligate emperor. Arrived there, she found
that Nero had given her to Vinicius, who had fallen passionately in love
with her; but on the way to Vinicius' house she was rescued by the giant
Ursus, one of her devoted attendants and a member of her own faith. They
escaped in safety to the Christians, who were living in hiding in the
city.

The imperious nature of the youthful soldier for the first time in his
life met resistance. He was so transported with rage and disappointment
that he ordered the slaves from whom Lygia had escaped to be flogged to
death, while he set out to find the girl who had dared to thwart his
desire. His egotism was so great that he would have seen the city and
the whole world sunk in ruins rather than fail of his purpose. For days
and days his search was unceasing, and at last he found Lygia, but in
making a second attempt to carry her off was severely wounded by the
giant Ursus. Finding himself helpless in the Christians' hands, he
expected nothing but death; but instead he was carefully and tenderly
nursed back to health. Waking from his delirium, he found at his bedside
Lygia--Lygia, whom he had most injured, watching alone, while the others
had gone to rest. Gradually in his pagan head the idea began to hatch
with difficulty that at the side of naked beauty, confident and proud of
Greek and Roman symmetry, there is another in the world, new, immensely
pure, in which a soul resides. As the days went by, Vinicius was
thrilled to the very depths of his soul by the consciousness that Lygia
was learning to love him. With that revelation came the certain
conviction that his religion would forever make an inseparable barrier
between them. Then he hated Christianity with all the powers of his
soul, yet he could not but acknowledge that it had adorned Lygia with
that exceptional, unexplained beauty, which was producing in his heart
besides love, respect; besides desire, homage. Yet, when he thought of
accepting the religion of the Nazarene, all the Roman in him rose up in
revolt against the idea. He knew that if he were to accept that teaching
he would have to throw, as on a burning pile, all his thoughts, ideas,
ambitions, habits of life, his very nature up to that moment, burn them
into ashes and fill himself with an entirely new life, and from his soul
he cried that it was impossible; it was impossible!

Before Vinicius had entirely recovered Nero commanded his presence at
Antium, whither the court was going for the hot summer months. Nero was
ambitious to write an immortal epic poem which should rival the
"Odyssey," and in order that he might describe realistically a burning
city, gave a secret command while he was in Antium that Rome should be
set on fire.


One evening, when the court was assembled to hear Nero recite some of
his poetry, a slave appeared.

"Pardon, Divine Imperator, Rome is burning! The whole city is a sea of
flames!" A moment of horrified silence followed, broken by the cry of
Vinicius. He rushed forth, and, springing on his horse, dashed into the
deep night. A horseman, rushing also like a whirlwind, but in the
opposite direction, toward Antium, shouted as he raced past: "Rome is
perishing!" To the ears of Vinicius came only one more expression:
"Gods!" The rest was drowned by the thunder of hoofs. But the expression
sobered him. "Gods!" He raised his head suddenly, and, stretching his
arms toward the sky filled with stars, began to pray.

"Not to you, whose temples are burning, do I call, but to Thee. Thou
Thyself hast suffered. Thou alone hast understood people's pain. If Thou
art what Peter and Paul declare, save Lygia. Seek her in the burning;
save her and I will give Thee my blood!"

Before he had reached the top of the mountain he felt the wind on his
face, and with it the odor of smoke came to his nostrils. He touched the
summit at last, and then a terrible sight struck his eyes. The whole
lower region was covered with smoke, but beyond this gray, ghastly plain
the city was burning on the hills. The conflagration had not the form of
a pillar, but of a long belt, shaped like the dawn.

Vinicius' horse, choking with the smoke, became unmanageable. He sprang
to the earth and rushed forward on foot. The tunic began to smolder on
him in places; breath failed his lungs; strength failed his bones; he
fell! Two men, with gourds full of water, ran to him and bore him away.
When he regained consciousness he found himself in a spacious cave,
lighted with torches and tapers. He saw a throng of people kneeling, and
over him bent the tender, beautiful face of his soul's beloved.

Lygia was indeed safe from the burning, but before the first thrill of
relief was over an infinitely more horrible danger threatened her. The
people were in wrath and threatened violence to Nero and his court, for
it was popularly believed that the city had been set on fire at the
emperor's instigation. The coward, Nero, was startled and thoroughly
alarmed, and welcomed gladly the suggestion that the calamity should be
blamed on the Christians, who were viewed with great suspicion by the
common people, and obliged even then to live in hiding. In order to
clear himself and to divert the people's minds, he instituted at once
against the Christians the most horrible persecutions that have ever
stained man's history. For days and days the people came in countless
numbers to witness the tortures of the innocent victims; but at last
they grew weary of blood-spilling. Then it was given out that Nero had
arranged a climax for the last of the Christians who were to die at an
evening spectacle in a brilliantly lighted amphitheater. Chief interest
both of the Augustinians and the people centered in Lygia and Vinicius,
for the story of their love was now generally known, and everybody felt
that Nero was intending to make a tragedy for himself out of the
suffering of Vinicius.

At last the evening arrived. The sight was in truth magnificent. All
that was powerful, brilliant and wealthy in Rome was there. The lower
seats were crowded with togas as white as snow. In a gilded padium sat
Nero, wearing a diamond collar and a golden crown upon his head. Every
eye was turned with strained gaze to the place where the unfortunate
lover was sitting. He was exceedingly pale, and his forehead was covered
with drops of sweat. To his tortured mind came the thought that faith of
itself would spare Lygia. Peter had said that faith would move the earth
to its foundations. He crushed doubt in himself, compressed his whole
being into the sentence, "I believe," and he looked for a miracle.

The prefect of the city waved a red handkerchief, and out of the dark
gully into the brilliantly lighted arena came Ursus. In Rome there was
no lack of gladiators, larger by far than the common measure of man; but
Roman eyes had never seen the like of Ursus. The people gazed with the
delight of experts at his mighty limbs, as large as tree trunks; at his
breast, as large as two shields joined together, and his arms of a
Hercules. He was unarmed, and had determined to die as became a follower
of the Lamb, peacefully and patiently. Meanwhile he wished to pray once
more to the Saviour. So he knelt on the arena, joined his hands and
raised his eyes towards the stars. This act displeased the crowd. They
had had enough of those Christians, who died like sheep. They understood
that if the giant would not defend himself, the spectacle would be a
failure. Here and there hisses were heard. Some began to cry for
scourgers, whose office it was to lash combatants unwilling to fight.
But soon all had grown silent, for no one knew what was waiting for the
giant, nor whether he would not defend himself when he met death eye to
eye.

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