CHAPTER III. EXERCISES IN SPEAKING, FOR THE PURPOSE OF ACQUIRING A VARIED AND SUITABLE EXPRESSION. There is no composition in music, however perfect as to key and melody, but in order to do justice to its author, will require something more than an exact adherence to tune and time. It is this which gives music its power over the passions, and it i called Expression. And as we find certain tones analogous to it coalescing with the modulation of the voice, and indicating our passions and affections, the term is usually applied in the same sense to speaking and reading. ART of DELIVERING WRITTEN LANGUAGE.-1775- Omnis enim motus animi suum quendam à natura habet vultum, et sonum, et gestum ; totumque corpus hominis, et ejus omnis vultus, omnesque voces, ut nervi in fidibus, ita sonant, ut à motu animi quoque sunt pulsæ. CICERO. THEY are not the tones of the voice only which give expression to words in actual speaking: the looks, the gesture, the whole deportment of the speaker, equally conduce to the same purpose; and a definition of language is imperfect which neglects to mention these among the elements of speech. In mere reading, however, all signs of expression beyond the modulation which adapts itself to the sense, are omitted, because, in fact, the reader does not speak from himself; he does but stand in the situation of one who reports what has been said by another. It is only in proportion as the reader loses sight of his real situation, and catches the interest and earnestness of the original speaker, that Reading identifies itself with Speaking. This is the kind of Reading which the student has now to cultivate and improve. The general rule is easily given-Make the sentiments and words your own, and speak under that impression: But the pupil will justly demand more particular assistance: the exercises must be systematical, beginning with those which require the least difference of manner from mere significant Reading and as, at first, in pieces requiring passion, it will probably be impossible to excite the imagination so as to produce an exact accordance of tone and manner, he may be met half way, and told that here he should be vehement, here plaintive, here lively, and here solemn. The passions with all their different shades, in all their different degrees, constitute endless varieties; but these may be generalized, and the broader distinctions being brought within his reach, he will soon acquire the talent of nicer discrimination. The Narrative, the Argumentative, and the Meditative manner. Even where the subjects are not of a nature to call for any marked expression of feeling, a difference of manner should distinguish narration or description from argument, and meditation from both. When we describe or narrate, our looks and general address, while nothing raises emotion, indicate little more than a desire to be clearly understood, and the delivery differs not from mere significant Reading, except in a certain reality of manner, which shows the speaker to be interested in what he utters. If gesture be employed, it should be moderate: the hand may occasionally be advanced in the direction of the person or persons addressed, and the posture, whether sitting or standing, should be such as to allow the looks to range freely. (See the Frontispiece.)— Much more than all this will be required when the Speaker's business is not merely to inform, but to convince. Argument implies opinions or contrary feelings to be combated: the voice becomes louder and generally higher; the accents are of a more marked character;-the motion of the eye is quicker;—the rate of pronunciation is sometimes slow, sometimes rapid;—the hand and arm, if gesture be used, accompany the emphatic accents with decisive strokes; and the pupil must learn, for this purpose, to raise the arm with grace, and extend it with force and precision. In lifting the arm, the elbow should move first, and be kept constantly outwards from the body; the hand should not be bent at the wrist, but keep in a line with the lower arm, and the thumb should preserve its natural distance from the other fingers. This preparation for an emphatic stroke should always begin in due time, the arm gradually ascending with the current of pronunciation, till, at the moment the action is wanted, the hand is brought down by a sudden spring. It may be mentioned, as a general principle, that the raising of the hand is adapted for suspensive accent or emphasis, and the contrary for conclusive emphasis.-Different both from the Narrative and the Argumentative manner is that which may be called Meditative. This takes place when the speaker seems to follow, not to guide, the train of thought;-that is to say, when he does not seek to convey information of which he is previously possessed, or to establish a truth of which he is previously convinced, but reflects for his own information or pleasure, and pursues his reflexions aloud. In this mode of speaking, the tone of voice is generally low, the pauses frequent, and the rate of utterance tardy. The eyes are frequently upward, or cast upon the ground, and only directed to the auditors when something in the way of information occurs. The gesture describes small spaces ;—the hand, after wandering for a moment or two, suddenly stops and keeps for a while in a suspended position, the looks at the same time being fixed; till at length, the development of thought again gives freedom to the action. The hand is sometimes held under or near the chin, or applied to the forehead, or reposes itself on some neighbouring object; and sometimes the arms are folded. 1. Modesty and Assurance exemplified.` NARRATIVE MANNER: The passage marked should be so delivered as to arrest particular attention. I do not remember to have met with any instance of modesty with which I am so well pleased, as that celebrated one of the young prince, whose father being a tributary king to the Romans, had several complaints laid against him before the Senate, as a tyrant and oppressor of his subjects. The prince went to Rome to defend his father; but-'coming into the senate, and hearing a multitude of crimes proved upon him, was so oppressed when it came to his turn to speak, that he was unable to utter a word.-The story tells us, that the fathers were more moved at this instance of modesty and ingenuousness, than they could have been by the most pathetic oration; and, in short, pardoned the guilty father for this early promise of virtue in the son. This little historical fact affords an example not only of modesty, but of a becoming assurance; qualities which are both amiable, and may very well meet in the same person. Without assurance, this prince would never have undertaken to plead before the most august assembly in the world; without modesty, he would have pleaded the cause he had taken upon him, though it had appeared ever so scandálous. ADDISON. 2. The Golden Age. NARRATIVE MANNER: The subject should communicate a glowing expression of delight throughout; except at the passage noted where the voice and looks accord with the circumstance narrated, but change again immediately. The first fresh dawn then waked the gladdened race Of uncorrupted man, nor blushed to see The sluggard sleep beneath its sacred beam: For their light slumbers gently fumed away; Wisdom and friendly talk, successive, stole free. Nor yet injurious act nor surly deed, Was known among those happy sons of Heaven; Harmonious nature, too, looked smiling on: The herds and flocks, commixing, played secure. Was meekened, and he joined his sullen joy. For music held the whole in perfect peace; Soft sighed the flute; the tender voice was heard Warbling the varied heart; the woodlands round Applied their choir; and winds and waters flowed In consonance. Such were those prime of days. THOMSON. |