Standard Selections: A Collection and Adaptation of Superior Productions from Best Authors for Use in Class Room and on the Platform

In Short

This volume is a curated pedagogical resource designed to develop the skills of public speakers and elocutionists. It gathers a wide variety of "superior productions"—ranging from famous historical orations by figures like Daniel Webster and Wendell Phillips to dramatic monologues and scenes from classic plays—to provide students with challenging material for vocal interpretation. By moving beyond standard textbook fare to include both time-tested masterpieces and fresh selections, the book seeks to balance literary merit with the requirements of an audience. It has endured as a historical record of the pedagogical priorities of the early 20th century, capturing the era’s focus on declamation, emotional expression, and the rigorous cultivation of the speaking voice.

The Story

The progression of this book mirrors the traditional curriculum of an oratorical education, moving systematically through different modes of expression. It begins with the domestic and the personal, introducing readers to the intimate, often sentimental, world of narrative poetry and character sketches. Here, the focus is on the "Child-wife" dynamics of Dickensian prose and the dramatic storytelling of Robert Browning’s Count Gismond, where honor and reputation are tested in public arenas. These early sections encourage the reader to inhabit different temperaments, practicing the transition from quiet, domestic reflection to the high-stakes intensity of a woman claiming her life back from the grave.

As the text advances, the scale shifts from the individual heart to the destiny of nations. The book transitions into the realm of the "Patriotic, Heroic, and Oratorical," presenting the arguments of the world’s seven greatest orators. This section functions as the book's ideological backbone, tracking the historical struggle for freedom, the ethics of war, and the responsibility of the citizen. The narrative arc here is one of high-minded civic engagement, where the orator must command the "vast, irresistible power of public opinion." The reader is moved from the private room to the Senate floor, witnessing how language is used to defend the Constitution, argue for the liberation of the oppressed, and navigate the complexities of international politics.

The trajectory then descends from the heights of political rhetoric back to the human scale, exploring the "Gay, Humorous, and Comic." This section serves as a necessary relief, testing the student's ability to shift tone from the solemn to the absurd. The scenes become increasingly performative, utilizing the wit of dramatists like Sheridan and Goldsmith to explore the complexities of social status, misunderstanding, and domestic tension. The final movement of the book provides technical guidance on how to interpret these scenes, offering adaptations that prioritize clarity and unity. By the end, the reader has moved from the internal, emotional labor of the poet to the external, structural discipline of the dramatist, culminating in an understanding that effective speech requires both a mastery of logic and an intuitive grasp of the audience’s mood.

How It Unfolds

The foundational training The book opens by establishing its purpose: to provide students with literature that is both intellectually rigorous and performative. It emphasizes vocal interpretation as a craft, demanding that the student move beyond mere reading to embody the spirit of the text.

The shift to the personal The early chapters focus on narrative verse and prose, using the emotional lives of characters to test the student’s range. The selections here require the speaker to manage sudden shifts in tone, from the tender and the domestic to the dramatic and the tragic.

The elevation of the orator The middle section introduces the "Seven Great Orators," moving the student from the domestic sphere into the world of political argument. These selections demonstrate how to use language to challenge tyranny, define national identity, and influence public morality.

The turn to humor and farce The book then pivots to lighter material, testing the speaker’s timing and ability to handle irony and colloquial dialect. This beat demonstrates that a master orator must be as comfortable with the absurdity of a humorous sketch as with the gravity of a legal defense.

The dramatic application The final movement provides curated scenes from standard dramas, showing the student how to cut and adapt longer works for the stage. It bridges the gap between solitary practice and the practical demands of the platform.

The People

The book features a cast of characters who represent the varied roles a speaker must inhabit. The "Child-wife" from the Dickensian selection represents the delicate, emotional work of voice acting; she is a figure of vulnerability who requires the speaker to convey genuine, unadorned affection. Conversely, Count Gismond and the figures of his world represent the heroic, elevated style required for dramatic recitation, where the speaker must project authority and moral certainty.

In the political section, the figures become more formidable. Demosthenes and Daniel Webster stand as the archetypes of the oratorical craft—men who hold the fate of nations in their arguments. They are defined by their intellect and their refusal to let the state falter under the pressure of "encroachments" or "nullification." They challenge the student to master the logic of argument and the weight of moral conviction. Toussaint L’Ouverture, as depicted by Wendell Phillips, adds a layer of revolutionary fervor, providing a character study of a leader who must communicate defiance in the face of impossible odds.

Finally, the book populates its dramatic scenes with figures like Sir Anthony Absolute, a man of blustering, comical authority whose temper tests the speaker's ability to balance aggression with caricature. These figures—from the broken-hearted girl to the titan of the Senate—are the training partners for the student. They do not undergo character arcs in the traditional sense; rather, they are templates. The student is the one who changes, evolving from a novice reciting lines into an orator capable of shifting from the quiet, grieving mother to the thundering defender of the law.

In Its Own Voice

The book’s commitment to emotional honesty is clear in this reflection on a difficult relationship:

"When you are going to be angry with me, say to yourself, 'It's only my Child-wife.'"

(A wife asks her husband to treat her limitations with gentle understanding.)

The gravity of the oratorical section is captured in this assessment of political power:

"The superior power may offer peace with honor and with safety."

(A speaker argues that true strength is found in magnanimity rather than the concessions of fear.)

The necessity of courage in the face of injustice is summarized here:

"Is't death to fall for Freedom's right? He's dead alone that lacks her light!"

(A verse defines the moral weight of a noble cause.)

What It's Really About

At its core, this book is an investigation into the power of the spoken word to shape human reality. It argues that speech is not merely a method of communication but a moral act that requires rigorous preparation and discipline. The underlying question is how one can translate the written thought into a living, breathing force that moves an audience. It explores the tension between "abstract ideas of right" and the practical necessity of governing—or speaking to—a diverse, often skeptical public. By juxtaposing the intimate, domestic sphere with the cold, hard logic of the Senate, the book suggests that a well-rounded speaker must be equally adept at expressing individual grief and articulating universal justice. It is an argument for the "conversational mode" and the belief that the most effective rhetoric is that which remains true to the human condition.

Why Read It Today

Readers who love the history of language, the art of the stage, or the classic tradition of elocution will find this collection fascinating. It offers a rare window into a time when the ability to recite, persuade, and perform was considered a fundamental requirement for a well-educated person. To read it today feels like stepping onto a lecture platform in a bygone era; the prose is formal, the sentiments are often earnest and grand, and the pedagogical structure is unapologetically traditional.

However, a modern reader must be prepared for the period-specific attitudes embedded in some of the selections. Some of the dialect used in the humorous sections or the historical accounts of the American South reflects language and prejudices of the early 20th century that are now recognized as dated or problematic. Furthermore, the book’s length and its focus on "elocutionary" techniques—such as how to project a voice or structure a speech—may feel restrictive to those accustomed to more contemporary, informal styles of communication. Yet, there is an enduring beauty in its commitment to the "masterpieces of eloquence." For anyone interested in the mechanics of how a voice can rock a building with applause or how a carefully chosen sentence can distill the essence of a nation’s struggle, this book remains a valuable, if challenging, artifact of a craft that once stood at the center of public life.