in the quality of the voice by which it is adapted to the character of the thought or sentiment read or spoken. In our attempts to imitate nature, however, it is important that all affectation be avoided, for perfect monotony is preferable to this fault. The tones of the voice should be made to correspond with the nature of the subject, without apparent effort.
EXAMPLES. (54)
Passion and Grief
"Come back! come back!" he cried, in grief,
"Across this stormy water;
And I'll forgive your Highland chief,
My daughter! O, my daughter!"
Plaintive
I have lived long enough: my way of life
Is fallen into the sear, the yellow leaf:
And that which should accompany old age,
As honor, love, obedience, troops of friends,
I must not look to have.
Calm
A very great portion of this globe is covered with water, which is called sea, and is very distinct from rivers and lakes.
Fierce Anger
Burned Marmion's swarthy cheek like fire,
And shook his very frame for ire;
And—"This to me!" he said—
"An 't were not for thy hoary beard,
Such hand as Marmion's had not spared
To cleave the Douglas' head!
Loud and Explosive
"Even in thy pitch of pride,
Here, in thy hold, thy vassals near,
I tell thee, thou 'rt defied!
And if thou said'st I am not peer
To any lord in Scotland here,
Lowland or Highland, far or near,
Lord Angus, thou hast lied!"
VI. GESTURE. (55)
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 is likely to take 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 which 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 easily and gracefully. 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 leg, 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 a stool or bench, or throwing the body 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 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 train of thought. Where the thought flows on calmly, let there be grace and ease in gesture and action. Where the style is sharp and abrupt, there is propriety in quick, short, and abrupt gesticulation. Especially avoid that ungraceful sawing of the air with the arms, into which all ill-regulated fervor betrays many young speakers.
What is called 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 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. The arms, however, 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.
First—It is not an uncommon fault to use one arm exclusively, and to give that a uniform movement. Such movement may, sometimes, have become habitual from one's profession or employment; but in learners, also, there is often a predisposition to this fault.
Second—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.
Third—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, etc., etc.; but these are used to give a particular expression.
Fourth—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 shaking and bobbing 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.
ELOCUTION AND READING. (57)
The business of training youth in elocution, must be commenced in childhood. The first school is the nursery. There, at least, may be formed a distinct articulation, which is the first requisite for good speaking. How rarely is it found in perfection among our orators.
"Words," says one, referring to articulation, should "be delivered out from the lips, as beautiful coins, newly issued from the mint; deeply and accurately impressed, perfectly finished; neatly struck by the proper organs, distinct, in due succession, and of due weight." How rarely do we hear a speaker whose tongue, teeth, and lips, do their office so perfectly as to answer to this beautiful description! And the common faults in articulation, it should be remembered, take their rise from the very nursery.
Grace in eloquence, in the pulpit, at the bar, can not be separated from grace in the