« PreviousContinue »
Mere men of learning, in attempting to make the etymology of words the rule of pronunciation, often pronounce words in a manner, which brings upon them the charge of affectation and pedantry. Mere men of the world, notwithstanding all their politeness, often retain so much of their provincial dialect, or commit such errors both in speaking and writing, as to exclude them from the honor of being the standard of accurate pronunciation. We should perhaps look for this standard only among those who unite these two characters, and with the correctness and precision of true learning combine the ease and elegance of genteel life. An attention to such models, and a free intercourse with the polite world, are the best guards against the peculiarities and vulgarisms of provincial dialects. Those which respect the pronunciation of words are innumerable. Some of the principal of them are omitting the aspirate h where it ought to be used, and inserting it where there should be none: Confounding and interchanging the v and w; pronouncing the dipthong ou like au or like oo, and the vowel i like oi or e; and cluttering many consonants together without regarding the vowels. These faults, and all others of the same nature, must be corrected in the pronunciation of a gentleman, who is supposed to have seen too much of the world, to retain the peculiarities of the district in whichhe was born.
Pronounce every word consisting of more than one syllable with its proper Accent.
THERE is a necessity for this direction, because many speakers have affected an unusual and pedantic mode of accenting words, laying it down as a rule, that the accent should be cast as far backwards as possible; a rule which has no foundation in the construction of the English language, or in the laws of harmony. In accenting words, the general custom and a good ear are the best guides: Only it may be observed that accent should be regulated, not by any arbitrary rules of quantity, or by the false idea that there are only two lengths in syllables, and that two short syllables are always equal to one long, but by the number and nature of the simple sounds.
In every Sentence, distinguish the more Significant Words by a natural, forcible, and varied emphasis.
EMPHASIS points out the precise meaning of a sen.tence, shews in what manner one idea is connected with and rises out of another, marks the several clauses of a sentence, gives to every part its proper sound, and thus conveys to the mind of the reader the full import of the whole. It is in the power of emphasis to make long and complex sentences appear intelligible and perspicuous. But for this purpose it is necessary that the reader should be perfectly acquainted with the exact construction and full meaning of every sentence which he recites. Without this it is impossible to give those inflections and variations to the voice, which nature requires; and it is for want of this previous study, more perhaps than from any other cause, that we so often hear persons read with an improper emphasis, or with no emphasis at all, that is, with a stupid monotony. Much study and pains are necessary in acquiring the habit of just and forcible pronunciation; and it can only be the effect of close attention and long practice, to be able with a mere glance of the eye, to read any piece with good emphasis and good discretion.
It is another office of emphasis, to express the opposition. between the several parts of a sentence where the style is pointed and antithetical. Pope's Essay on Man, and his Moral Essays, and the Proverbs of Solomon will furnish many proper exercises in this species of speaking. In some sentences the antithesis, is double, and even treble; these must be expressed in reading, by a very distinct emphasis on each part of the opposition. The following instances are of this kind:
Anger may glance into the breast of a wise man ; but rests only in the bosom of fools.
An angry man who suppresses his passion, thinks worse than he speaks; and an angry man that will chide, speaks worse than he thinks.
Better reign in hell, than serve in heaven.
He rais'd a mortal to the skies;
Emphasis likewise serves to express some particular meaning not immediately arising from the words, but depending upon the intention of the speaker, or some incidental circumstance. The following short sentence may have three different meanings, according to the different places of the emphasis: Do you intend to go to London this summer?
In order to acquire a habit of speaking with a just and forcible emphasis, nothing more is necessary than previously to study the construction, meaning and spirit of every sentence, and to adhere as nearly as possible to the manner in which we distinguish one word from another in conversation; for in familiar discourse, we scarce ever fail to express ourselves emphatically, or place the emphasis improperly. With respect to artificial helps, such as distinguishing words or clauses of sentences by particular characters or marks; I believe it will always be found, upon trial, that they mislead instead of assist the reader, by not leaving him at full liberty to follow his own understanding and feelings.
The most common faults respecting emphasis are laying so strong an emphasis on one word as to leave no power of giving a particular force to other words, which though not equally, are in a certain degree emphatical; and placing the greatest stress on conjunctive particles, and other words of secondary importance. These faults are strongly characterized in Churchill's censure of Mossop.
With studied improprieties of speech
He soars beyond the hackney critic's reach,
Whilst principles, ungrac'd, like lacquies wait;
HE, SHE, IT, AND, WE, YE, THEY, fright the soul.
Emphasis is often destroyed by an injudicious attempt to read melodiously. Agreeable inflections and easy variations of the voice, as far as they arise from, or are consistent with just speaking, are worthy of attention. But to substi tute one unmeaning tone, in the room of all the proprieties and grace. of good elocution, and then to applaud this manner, under the appellation of musical speaking, can only be the effect of great ignorance and inattention, or of a de
praved taste. If public speaking must be musical, let the words be set to music in recitative, that these melodious speakers may no longer lie open to the sarcasm: Do you read or sing? If you sing, you sing very ill. Seriously it is much to be wondered at, that this kind of reading, which has so little merit considered as music, and none at all considered as speaking, should be so studiously practised by many speakers, and so much admired by many hearers. Can a method of reading, which is so entirely different from the usual manner of conversation, be natural and right? is it possible that all the varieties of sentiment which a public speaker has occasion to introduce, should be properly expressed by one melodious tone and cadence employed alike on all occasions, and for all purposes ?
Acquire a just Variety of PAUSE and CADENCE.
ONE of the worst faults a speaker can have, is to make no other pauses, than what he finds barely necessary for breathing. I know of nothing that such a speaker can so properly be compared to, as an alarm bell, which, when once set agoing, clatters on till the weight that moves it is run down. Without pauses, the sense must always appear confused and obscure, and often be misunderstood; and the spirit and energy of the piece must be wholly lost.
In executing this part of the office of a speaker, it will by no means be sufficient to attend to the points used in printing; for these are far from marking all the pauses which ought to be made in speaking. A mechanical attention to these resting places has perhaps been one chief cause of monotony, by leading the reader to an uniform cadence at every full period. The use of points is to assist the reader in discerning the grammatical construction, not to direct his pronunciation. In reading, it may often be proper to make a pause where the printer has made none. Nay, it is very allowable for the sake of pointing out the sense more strongly, preparing the audience for what is to follow, or enabling the speaker to alter the tone or height of the voice, sometimes to make a very considerable pause, where the grammatical construction requires none at all. In doing this, however, it is necessary that in the word immediately preceding the pause, the voice be kept up in such a manner as to intimate to the hearer that the sense is not completed..
Mr. Garrick, the first of speakers, often observed this rule with great success. This particular excellence Mr. Sterne has described in his usual sprightly manner. lowing work, Book VI. Chapter III.
See the fol
Before a full pause it has been customary in reading to drop the voice in an uniform manner; and this has been called the cadence. But surely nothing can be more destructive of all propriety and energy than this habit. The tones and heights at the close of a sentence ought to be infinitely diversified, according to the general nature of the discourse, and the particular construction and meaning of the sentence. In plain narrative, and especially in argumentation, the least attention to the manner in which we relate a story, or support an argument in conversation, will shew, that it is more frequently proper to raise the voice, than to fall it at the end of a sentence. Interrogatives, where the speaker seems to expect an answer, should almost always be elevated at the close, with a particular tone, to indicate that a question is asked. Some sentences are so constructed, that the last words require a stronger emphasis than any of the preceding; while others admit of being closed with a soft and gentle sound.
Where there is nothing in the sense which requires the last sound to be elevated or emphatical, an easy fall sufficient to shew that the sense is finished, will be proper. And in pathetic pieces, especially those of the plaintive, tender, er solemn kind, the tone of the passion will often require a still greater cadence of the voice. But before a speaker can be able to fall his voice with propriety and judgment at the close of a sentence, he must be able to keep it from falling, and raise it with all the variations which the sense requires. The best method of correcting a uniform cadence is frequently to read select sentences, in which the style is pointed, and frequent antitheses are introduced, and argumentative pieces or such as abound with interrogatives.
Accompany the Emotions and Passions which your words express, by correspondent TONES, LOOKS, and GESTURES.
THERE is the language of emotions and passions as well as of ideas. To express the former is the peculiar province of words: to express the latter, nature teaches us to make use of tones, looks and gestures. When anger,