Thy very stones prate of my whereabout, And take the present horror from the time, I go, and it is done; the bell invites me: [Exit. QUESTIONS 1. Give a definition of the word "Development". 2. Give a definition of the word "Thought". 3. To make the proper expression in looks, what is most essential? 4. How should every movement on the stage be made? 5. Do you find this work a pleasure or a burden? 9. Select some short scene and analyze it. 10. What is most essential in preparing a reading, or a speech? 11. Can one attain perfection without practice? 12. Can you make an entrance properly? 13. Have you practiced making a bow to an audience? 14. Describe it. 15. Before giving a reading or making a speech, what is most essential? 16. What do you understand by pauses? 17. Are these lessons beneficial to every one? 18. Have they benefitted you? Write out the answers to all questions, without referring to the lesson sheet. SIXTH LESSON FAULTS OF ENUNCIATION We all have them in expression, but we can overcome them. Teacher-The first is "speaking too loud." We often hear this from the stage and the pulpit, lecturers, actors, lawyers, etc., from those who seem to think it necessary to shout. What is the result, or the effect? Pupil-It is very disagreeable to the hearers, and extremely inconvenient to the speaker. Teacher-What would you suggest as a remedy? Pupil-To be constantly on the alert, so that none should say, it is an affectation, either of ignorance, or for effect. Teacher-You have heard that sing-song-drawling tone; this is said to be an affectation, or a design to work upon the passions. What would you say? Pupil-It would immediately defeat any such design to effectually move the passions. We must carefully conceal our intentions of any such design. Teacher-There are ministers, lawyers, lecturers, and actors, who affect certain tones and manners, and a vehemence of voice, thinking they are effective. It is a mistake that is often made. A practice that Quintillian calls, "Not only clamouring, but furious bellowing. Not vehemence, but downright violence." We must ever remember that an overstrained voice is very inconvenient to the speaker, also most distasteful to the judicious hearer. Furthermore, it naturally leads the speaker into a "peculiar tone." The voice should fill the place in which we speak, but, if in doing so, it exceeds the natural key, it will be, neither soft, nor sweet, and not even agreeable. For, we will not give to every word its proper and distinguishing sound, which is very important to a public speaker, or reader. We must also bear in mind, that in speaking too low, we are committing as great an error, and must look after it in. "enunciation" as carefully, as when speaking in too high a key. It is true the speaker will not be so inconvenienced, but it will be as disagreeable to the hearer-that is, the generality of hearers, as in the other case. What other fault can we name? Pupil-Those who have a "thick, rapid and mumbling enunciation." One who mumbles and clips his words as he hurries on without any anxiety as to whether his hearers understand him or not. And as to the importance of the words, or giving them the full sound, he seems not to care. Teacher-When I am unfortunate enough to be in an audience of a speaker of that kind, I think of Shakespeare's lines "full of sound and fury, signifying nothing." There is really no excuse for such a habit, it is a bad one, and should not be allowed to grow. Demosthenes, the greatest orator that Greece ever produced, had three natural impediments in pronunciation, all of which he overcame by invincible labor and perseverance. One, was a weak voice, which he strengthened and completely cured by frequently declaiming on the sea shore, amidst the noise of the waves. Another, was a shortness of breath. He corrected this by repeating his orations as he walked up a hill. The other fault was that of which we have been speaking, "a thick, mumbling way of speaking." His remedy for this was declaiming with a pebble in his mouth. If these were good enough for him, they are surely good enough for us. Weigh your words, don't speak too rapidly, this is a most common fault, but easily overcome if we do not let the habit grow. Who are mostly guilty of this fault? Pupil-Those who think they read well. They have no fear of coming to a stand-still by the unexpected appearance of any hard and unusual word. Teacher-What is the great disadvantage of this manner of enunciation? Pupil-The hearer loses more than half of the subject of discourse, or, reading. We should always have regard to the memory, as well as the understanding of our hearers. Teacher-Name some other fault. Pupil-One who reads in that "sleepy-droning way" and through mere carelessness, making pauses at improper places. Teacher-To any one with the slightest taste, this is most disagreeable. Any other fault? Pupil-Yes, that "uneven and irregular voice" that rises and falls by fits and starts. Elevated or depressed unnaturally and unreasonably, without regard to sense and stops. Teacher-Explain just what you mean. Pupil-When one begins a sentence too high, and ends in a low tone. Or, when it begins and ends in the same key. Teacher-Any other faults? Pupil-That dull, flat uniform tone of voice without emphasis or cadence, or in fact any regard to the sense and subject of what is read. Teacher-This habit is sometimes formed in childhood, and retained when grown up. A just enunciation is a good commentary. We often hear in the theatre, or church, that high swelling, and, what is termed a theatrical tone. Those who are guilty of this imagine they are fine orators; they lay too much stress and emphasis on every sentence, and thus transgress the rules of oratory. Don't affect that awful and striking tone attended with solemn grimace, as if you would move your hearers with every word, whether the weight of the subject bear them out, or not. Persons of gloomy and melancholy cast of mind are apt to fall into this mistake. Our next lesson will take up the "Remedy for the Faults of Enunciation." I want you to carefully self-examine yourself, to learn whether you have any of the faults we have been considering. If so, make a note of the fact, and start in at once with the remedy. EXERCISE (To be memorized by the pupil, applying the methods of Voice, Look and Gesture.) CARDINAL WOLSEY'S SPEECH TO CROMWELL Cromwell, I did not think to shed a tear In all my miseries; but thou hast forced me, Out of thy honest truth, to play the woman. Let's dry our eyes: and thus far hear me, Cromwell; And sleep in dull cold marble, where no mention Still in thy right hand carry gentle peace, To silence envious tongues. Be just, and fear not: Let all the ends thou aim'st at be thy country's, Thy God's, and truth's; then if thou fall'st, O Cromwell! Thou fall'st a blessed martyr. Serve the king; And, pr'ythee, lead me in: There, take an inventory of all I have, |