6. O sailor boy! sailor boy! never again Shall home, love, or kindred, thy wishes repay, MANAGEMENT OF THE VOICE. On this subject we can do nothing better than lay before the student an extract from Mr. Walker's excellent "Rhetorical Grammar." "As the voice naturally slides into a higher tone, when we want to speak louder, but not so easily into a lower tone, when we want to speak more softly, the first care of every reader and speaker ought to be, to acquire the power of lowering the voice when it is too high. Experience shows us that we can raise our voice at pleasure, to any pitch it is capable of; but the same experience tells us, that it requires infinite art and practice to bring the voice to a lower key, when it is once raised too high. It ought, therefore, to be a first principle with all public readers and speakers, rather to begin under the common level of the voice, than above it. "Every one, therefore, who would acquire a variety of tone, in public reading or speaking, must avoid, as the greatest evil, a loud and vociferous beginning; and, for this purpose, it would be prudent in a reader or speaker, to adapt his voice as if only to be heard by the person nearest to him. If his voice has natural strength, and the subject any thing impassioned in it, a higher and louder tone will insensibly steal on him, and his greatest address must be directed to keep it within bounds. For this purpose, it will be frequently necessary for him to recall his voice, as it were, from the extremities of his auditory, and direct it to those who are nearest to him. "If, in the course of reading, the voice should slide into a higher tone, and this tone too often recur, care must be taken to throw in a variety, by beginning subsequent sentences in a lower tone, and (if the subject will admit of it) in a monotone; for the monotone is the most efficacious means of bringing the voice from high to low, and of altering it when it has been too long in the same key." With regard to those changes of tone which are required by the character of the sentiment uttered, such as a sudden transition from high to low, or the contrary, plaintiveness or expressiveness of voice, a slow or quick delivery, and other things of a like nature, rules seem to be unnecessary, and even to impede improvement. What is the best QUESTIONS.-What, with regard to the voice, is an important object of every speaker's attention? What key ought he most diligently to improve? What is meant by the natural pitch? How may this be cultivated? What difficulty is there in doing this? method of obviating this difficulty? How may the lower tones of the voice be strengthened? How may high tones of voice be acquired? Is it easier to raise the voice, or to lower it? In what tone ought a speaker to commence ? What is especially to be avoided in the beginning? In what way may the voice, if too high, be brought down? VI. GESTURE. Ir is not designed, in this book, to give a minute system of rules and instructions on the subject of Gesture. That would be a difficult task without the assistance of plates; and even with their aid, any directions must be very imperfect, without the example and illustrations of the living teacher, as the speaking model. It will be sufficient to give some general hints by means of which the student may form rules, or pursue a discipline for himself. Gesture is that part of the speaker's manner, which pertains to his attitude, to the use and carriage of his person, and the movement of his limbs in delivery. Every person, in beginning to speak, feels the natural embarrassment resulting from his new position. The novelty of the situation destroys his self-possession, and, with the loss of that, he becomes awkward, his arms and hands hang clumsily, and now, for the first time, seem to him worse than superfluous members. This embarrassment will be overcome gradually, as the speaker becomes familiar with his position; and it is sometimes overcome at once, by a powerful exercise of the attention upon the matter of the speech. When that fills and possesses the mind, the orator insensibly takes the attitude which is becoming, and, at least, easy and natural, if not graceful. 1st. The first general direction that should be given to the speaker is, that he should stand erect and firm, and in that posture that gives an expanded chest and full play to the organs of respiration and utterance. 2d. Let the attitude be such that it can be shifted with ease, and without shuffling and hitching the limbs. The student will find, by trial, that no attitude is so favorable to this end, as that in which the weight of the body is thrown upon one limb, leaving the other free to be advanced or thrown back, as fatigue or the proper action of delivery may require. The student, who has any regard to grace or elegance, will of course avoid all the gross faults which are so common among public speakers, such as resting one foot upon stools and benches, or throwing the body lazily forward upon the support of the rostrum. 3d. Next to attitude, come the movements of the person and limbs. In these, two objects are to be observed, and, if possible, combined, viz., propriety and grace. There is expression in the extended arm, the clinched hand, the open palm, and the smiting of the breast. But let no gesture be made that is not in harmony with the thought or sentiment that is uttered; for it is this harmony which constitutes propriety. As far as possible, let there be a correspondence between the style of action and the strain of thought. Where the thought flows on calmly and sweetly, let there be the same graceful and easy flow of gesture and action. Where the style is sharp and abrupt, there is propriety in the quick, short, and abrupt gesticulation. Especially avoid that ungraceful sawing of the air with the arms, into which an ill-regulated fervor betrays many young speakers. What is called a graceful manner, can only be attained by those who have some natural advantages of person. So far as it is in the reach of study or practice, it seems to depend chiefly upon the general cultivation of manners, implying freedom from all embarrassments, and entire self-possession. The whole secret of acquiring a graceful style of gesture, we apprehend, lies in the habitual practice, not only when speaking, but at all times, of free and graceful movements of the limbs. There is no limb nor feature, which the accomplished speaker will not employ with effect, in the course of a various and animated delivery. But the arms are the chief reliance of the orator in gesture; and it will not be amiss to give a hint or two, in reference to their proper use. And first;-It is not an uncommon fault to use one arm exclusively, and to give that a uniform movement. Such movement may, sometimes, have grown habitual from one's profession or employment. But in learners, also, there is often a predisposition to this fault. Secondly;-It is not unusual to see a speaker use only the lower half of his arm. This always gives a stiff and constrained manner to delivery. Let the whole arm move, and let the movement be free and flowing. Thirdly;—As a general rule, let the hand be open, with the fingers slightly curved. It then seems liberal, communicative, and candid; and, in some degree, gives that expression to the style of delivery. Of course, there are passages which require the clinched hand, the pointed finger, &c.; but these are used to give a particular expression. Fourthly;-In the movements of the arm, study variety and the grace of curved lines. When a gesture is made with one arm only, the eye should be cast in the direction of that arm; not at it, but over it. All speakers employ, more or less, the motions of the head. In reference to that member, we make but one observation. Avoid the continuous bobbing and shaking of the head, which is so conspicuous in the action of many ambitious public speakers. The beauty and force of all gesture consist in its timely, judicious, and natural employment, when it can serve to illustrate the meaning, or give emphasis to the force of an important passage. The usual fault of young speakers is too much action. To emphasize all parts alike, is equivalent to no emphasis; and by employing forcible gestures on unimportant passages, we diminish our power to render other parts impressive. TO TEACHERS. In ARTICULATION, as the exercises are already extensive, a few lessons only are added, especially adapted to the purpose of practice. The INFLECTIONS marked are in accordance with the best authorities, both American and English, among whom may be mentioned SHERIDAN KNOWLES as a leading and standard author on this subject. At the same time, it must be remembered, that, in many cases, inflections depend upon the degree of emphasis, and, on this point, opinions and tastes may vary in different individuals, and sometimes in the same individual at different times. It is also to be noticed, that the rising inflection is often used in a slight degree without being discerned except by an acute and educated ear; pupils learn to distinguish it with great difficulty, and teachers frequently do not perceive it, unless under emphasis. In EMPHASIS and POETRY, the lessons for practice include all the previous notation. With regard to the lessons on MODULATION, a single remark seems necessary. The tone and manner in which emotion is expressed, are instinctive. A proper expression can be given, only by imbibing the spirit of the subject. In the notation, high and low tones are specifically indicated. Loudness is sufficiently denoted in most cases, by emphasis. The following characters are used in the following pages. THE RISING INFLECTION IS DENOTED BY THE FALLING INFLECTION THE RISING CIRCUMFLEX THE FALLING CIRCUMFLEX THE MONOTONE, BY A LINE PLACED OVER THE VOWEL EMPHATIC WORDS ARE DENOTED BY ITALICS OR CAPITALS, THE EMPHATIC PAUSE, BY A LINE BEFORE OR AFTER THE WORD |