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THE ART OF ELOCUTION.

INTRODUCTION.

The main principles of Elocution, and a few practical suggestions as to their application, are all that the writer proposes to include in this brief manual. These principles govern various Arts which differ from each other in important respects.

The Art of Preaching, for instance, has characteristics which sharply distinguish it from other branches of public speaking. The same is true of the Actor's and Reciter's Arts, and of the Art of Conversation.

But to all these Arts certain fundamental principles of Elocution equally apply. These may be classified as :—

A. The development and control of the voice.
B. The training of the mind.

On the physical side, the speaker or reciter must see to the correct production of the voice, and must strive, by judicious exercise, to strengthen its power, enrich its tone, and extend its compass.

On the mental side, he will need to develop memory and imagination, to acquire a right sense of the value of words and of the beauty and significance of literary forms. The student who wishes to master this art should therefore understand from the beginning that the realization of his desire will be the work of many years.

We shall deal here with the training of the vehicle of speech only; we have not space for a consideration of the higher artistic matters, Our aim is two-fold:-(a) to fully develop the voice in all its powers, and (b) to acquire definite control of all the machinery of speech-voice, facial expression and gesture.

The following exercises will be found useful:—

1. To develop and gain control over the lungs : A.-Fill and empty the lungs ten or twenty times— first slowly, then rapidly.

B.-Count to 40, in one breath, or take the alphabet twice in one breath. Gradually increase the exercise till 80 can be easily reached in one breath.

c.-Stand erect, hands touching the thighs. Slowly move the hands out sideways to above the head, simultaneously filling the lungs. Revert to the first position during expiration.

2.-Voice Development:

A. Sing up Scale from A to E, below middle C, on oh and from F to C, on ah. Repeat each tone four times,

B. Sing as before, using movements of the arms downward from the shoulders, in front, for tones to E; and backward from chest for tones above E and up to C, to accentuate each tone. Fill the lungs, well to start with, then take a short breath for each tone.

c. Take the same range, holding out each tone with equable power: duration, about half a minute. All theses tones should be produced on the inhalation. 3. Articulation:

Tonics.

A.-Speak (in most useful octave) the Vowels oo, oh, ah, ai, ee. Increase force, steadily, until great power is gained.

Sub-Tonics and Atonics.

B. Speak in one breath, firmly and clearly, each of
the following exercises:

Black babbling brooks break brawling o'er their bounds.
The painted pomp of pleasure's proud parade.

Decide the dispute during dinner-time by dividing the difference.
Tourists thronged from time to time to traverse the Thames tunnel.
Gregory going gaily galloped gallantly to the gate.

Crazed with corroding cares and killed with consuming complaints.

Introduction.

Vanity of Vanities and all is Vanity.

Frank Feron flattered his friends and found fault with his foes.
His zeal was blazoned from zone to zone.

Serpents and snakes were scattered on the sea.

Judge and jury adjourned the judgment.

Chosen champion of the church he cherished her children.

xi.

The azure sea is shining with ships that shape their course for home.

This thread is thinner than that thistle there.

Year after year the o'er-ripe ear is lost.

Ye heard him yelling o'er your head.

Up a high hill he heaved a huge hard stone.

We wildly wish while wiser workmen win whate er will worth reward.
And rugged rocks re-echo with his roar.

Lamely the lion limped along the lawn.

Many men of many minds mixing in multifarious matters of much moment.

None know nor need to know his name.

England's king lay waking and thinking while his subjects were sleeping.

Ten to fifteen minutes daily should be given to the foregoing exercises, and, before attempting them, the student would do well to observe the following precepts :

(a) In Breathing, habituate yourself to the abdominal
method. Keep the shoulders down and still, and
the chest raised. Inflate and deflate the lungs
from the diaphragm, i.e., try to feel the breathing
movements around the waist of the body--
especially at the sides and around the back,
(b) In beginning vocal-practice choose that range of
voice which is natural to you. It may
be very
low or it may be very high, but in the majority
of cases it will be neither low nor high, but
about the middle of the scale-say from lower C
to middle C. When you have developed the
resources of your voice within this easy range,
you may gradually extend the compass, above and
below, until the whole voice is at your command.
Begin all exercises pianissimo and gradually
increase power.

(c) Sing and speak from the front of the mouth—as
down a tube. The habit of arresting the voice in
the throat is injurious and provocative of thick,
indistinct articulation,

(d) Never attempt to imitate voices unlike your own simply because of some excellence you may admire

in them. By persistent attempts in such directions many a good voice has been ruined. Strive to develop your own gifts.

In the articulation exercises, as in all good speaking (a) Open the mouth adequately.

(b) Use your lips in the framing and delivery of your words.

(c) Keep the will exerted on the voice to the utterance of the last syllable.

SUGGESTIONS ON DELIVERY.

1. We should always satisfy an audience about two things::

(a) That we thoroughly understand what we are interpreting.

(b) That we have a real pleasure in the composition for its own sake.

2. Do not memorize a poem before studying it. Study first, memorize afterwards.

Let every

3. In the use of gesture avoid extremes. gesture have a definite purpose behind it. The artist in recitation should think out all his gestures beforehand, leaving nothing to chance; to the speaker and preacher, greater liberty may be allowed.

4. Perfect harmony between the matter and the manner of utterance can only be achieved by a living personal sympathy with every sentence spoken. The speaker must speak with his heart as well as with his head; the reciter must realize the mood of the poet as well as the meaning of the poem.

The foregoing exercises and suggestions, if carefully read and duly practised, will be found helpful to the beginner; but the writer would strongly urge all students to obtain the counsel of a proficient teacher. More complete systems of vocal exercises will be found in the writer's two pamphlets, "Elementary Exercises in Elocution" and "Elocutionary Exercises."

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