PART I

ELOCUTION is the VOCAL EXPRESSION of IDEAS with the speaking tones, as distinguished from the singing.

GOOD ELOCUTION, in reading or speaking, is the expression of ideas with their appropriate or natural speaking tones of the voice.

But how can we, intelligently, even attempt to give correct vocal expression to what is not first CLEARLY UNDERSTOOD and APPRECIATED?

Hence arises at the very outset, as a prerequisite to any possible excellence in elocution, the necessity of a THOROUGH ANALYSIS and STUDY of the ideas or the thoughts and feelings to be read.

Let, then, each lesson in reading begin with this preparatory work of "Logical Analysis."

METHOD OF ANALYSIS.

In any other art, if we wish to conceive and express things clearly, we inquire, first, for the GENUS, or the GENERAL KIND; secondly, for the SPECIES, or the INDIVIDUALS, under that kind.

If, for example, we were asked to paint a group of animals or flowers,—

1. We should ascertain what kind of animals or flowers is meant the horse, or the lion; the rose, or the lily.

2. We should determine the peculiarities of the individuals. 3. We should feel obliged to learn something of the general colors we are to paint with, their various shades, and how to blend these into expressive lights and shades. Then only should

we feel prepared to take the first step successfully in the art of

painting.

Let us, in the kindred art of elocution, adopt the same natural method and order of inquiry.

Let us determine,

1. The general spirit or kind of the piece to be read.

2. The important individual ideas.

3. The relative importance of the ideas.

1. We must determine the kind or general spirit, that we may know what general or standard force, and time, &c., of voice we should read with. There must be some standard to guide us, or we cannot tell how much emphasis to give to any idea. "Read the emphatic words louder," says the teacher. Louder than what? "Louder than the unemphatic words." But how loud are they — the unemphatic words? This question must be answered first, or we have no standard to go by; and the answer to this question is determined always by the general spirit of the piece. If that is unemotional, the standard force required is moderate; if bold, the standard force is bold, or loud; if subdued or pathetic, the standard force is subdued, or soft.

2. We must determine the important individual ideas, that we may know what words need extra force or emphasis.

3. We must determine the relative importance of these ideas, that we may know how much emphatic force we must give to each respectively, so as to bring out in our reading, clearly, the exact and full meaning of the author.

But it may be objected that this method of catching the spirit of the author, first, is too difficult for the school-room, because there are so many emotions not easily distinguished or remembered. Yet, since this natural order of inquiry, if it can be made practicable, will make all our after progress so

much more intelligent and rapid, and since the chief charm of all the best pieces for expressive reading lies in the emotional part, let us see if we cannot sufficiently simplify these difficulties, by grouping nearly all the emotions into a few representative classes, which will be definite enough for all ordinary purposes in teaching elocution, and which can be easily recognized by any one who can distinguish joy from sorrow, or a mere matterof-fact idea from impassioned sentiment.

As appropriate answers to our first question in analysis, let pupils become familiar with some such simple and comprehensive classes as the following::

1.

DIFFERENT KINDS OR CLASSES OF IDEAS.

Unemotional,' or matter-of-fact (whether didactic, narrative, or descriptive).

2. 'Bold' (including the very emphatic passages in the first class, and all declamatory pieces).

3. Animated, or joyous' (including all lively, happy, or beautiful ideas).

4. Subdued, or pathetic' (including all gentle, tender, or sad ideas).

5. Noble' (including all ideas that are great, grand, sublime, or heroic).

6. Grave' (including the deep feelings of solemnity, reverence, &c.).

7. Ludicrous, or sarcastic' (including jest, raillery, ridicule, mockery, irony, scorn, or contempt).

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8. Impassioned' (including all very bold pieces, and such violent passions as anger, defiance, revenge, &c.).

When selections are of a mixed character, ' matter-of-fact,' some 'bold,' some 'noble,' &c., tion must be asked as often as there is a marked

some passages

the first queschange.

Having clearly analyzed any given example, we are ready intelligently to ask and answer the first elocutionary question, viz., How can we read the same so as to express with the voice the 'general spirit' and the individual ideas' with the 'relative importance' of each? This brings us to the subject of —

VOCAL EXPRESSION.

Before analyzing the elements of vocal expression, let pupils be made to understand, as clearly as possible, this broad, general principle, viz., that EXPRESSION in Nature or Art depends on some kinds of lights and shades, as of color, or form, or sound.

Let them see that the clean white wall or the blackboard has no expression, just because it has but one shade of one color, while the painted map on the wall expresses something, because it has different shades of various colors.

They will then the more clearly understand that the true expression of thoughts and feelings in reading depends on using the right lights and shades of the voice; that a monotonous tone gives no more expression to the ear than the one monotonous color does to the eye.

All our lights and shades of expression in elocution are to be made out of the following:—

ELEMENTS OF VOCAL EXPRESSION.

1. Force,' with all its natural variety, from moderate to louder or softer.

2. Time,' with its changes from moderate to faster or slower movement, also with its longer or shorter quantity and pauses.

3. 'Slides,' 'rising,' and 'falling,' and 'circumflex,' and all these as moderate, or longer or shorter.

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4. Pitch,' with its variety of 'key-note,' 'compass,' and

'melody.'

5.

Volume,' with more or less 'fulness' of tone.

6. Stress,' or the different kinds of force, as abrupt,' or 'smooth,' or as given to different parts of a syllable.

7. Quality,' as 'pure,' and resonant, or 'impure,' and aspirated.

Let us now study and practise the principles for the right use of each one of these elements of vocal expression, in Part II.