INDICATING VALUES AND RELATIONS
Perhaps the most commonly criticized fault among beginners in speaking is that of monotony. Monotony that arises from lack of inflection of voice or from lack of pointed-ness or emphasis in a sentence, will presumably be corrected in the earlier exercises. The monotony that is caused by giving to all sentences an equal value, saying all sentences, or a whole speech, in about the same force, rate, and general pitch, is one that may be considered from another point of view. One fault in the delivery of sentences—perhaps the most frequent one—is that of running them all off in about the same modulation. By modulation we mean the wavelike rise and fall of the voice that always occurs in some degree in speech,—sometimes called melody—and the change of key, or general pitch, in passing from one sentence, or part of a speech, to another. Frequently, novices in speaking and in reading, will swing the voice upward in the first part of every sentence, give it perhaps another rise or two as the sentence proceeds, and swing it down, always in precisely the same way, at the end. The effect of this regular rising at the beginning, and this giving of a similar concluding cadence at the end, is to make it appear that each sentence stands quite independent of the others, that each is a detached statement; and when, besides, each sentence is given with about the same force and rate of speed, they all seem to be of about equal importance, all principal or none principal, but as much alike as Rosalind's halfpence. Sentences that have a close sequence as to thought should be so rendered that one seems to flow out from the other, without the regular marked rise at the beginning or the concluding cadence at the end. Sentences, and parts of sentences, which are of less importance than others with which they are associated, should be made less prominent in delivery. Often students are helped by the suggestion that a sentence, or a part of a sentence, or a group of sentences, it may be, be dropped into an undertone, or said as an aside, or rapidly passed over, or in some way put in the background—said, so to speak, parenthetically. Other portions of the speech, or the sentence, the important ones, should, on the same principle, be made to stand out with marked effect.
Notice, in the following quotation, how the first and the last parts arc held together by the pitch or key and the modulation of the voice, and the middle part, the group of examples, is held together in a different key by being set in the background, as being illustrative or probative. "Why, all these Irish bulls are Greek,—every one of them. Take the Irishman carrying around a brick as a specimen of the house he had to sell; take the Irishman who shut his eyes, and looked into the glass to see how he would look when he was dead; take the Irishman that bought a crow, alleging that crows were reported to live two hundred years, and he meant to set out and try it. Well, those are all Greek. A score or more of them, of the parallel character, come from Athens."
The speaker should cultivate a quick sensitiveness as to close unity and slight diversity, as to what is principal and what is subordinate, as to what is in the direct, main line of thought, and what is by the way, casual, or merely a connecting link. This sense of proportion, of close or remote relation, of directness and indirectness, the feeling for perspective, so-called, can be acquired only by continued practice, for sharpening the faculty of apprehension and appreciation. It is usually the last attainment in the student's work, but the neglect of it may result in a confirmed habit of monotony. The term transition is commonly used to denote a passing from one to another of the main divisions of the discourse. The making of this transition, though often neglected, is not difficult. The finishing of one part and the making of a new beginning on the next, usually with some change of standing position, as well as of voice, has an obvious method. The slighter transition, or variation, within a main division, and the avoidance of the slight transition where none should be made, require the keener, quicker insight.
Sentences will have many other kinds of variation in delivery according to the nature and value of the thought. Some will flow on with high successive waves; some will be run almost straight on as in a monotone. Some will be on a higher average tone, or in a higher key; others will be lower. Some will have lengthened vowel sound, and will be more continuous or sustained, so that groups of successive words seem to run on one unbroken tone; others will be abrupt and irregular. Some will be rapid, some slow; some light, others weighty; some affected by long pauses, others by no pause, and some will be done in a dry, matter-of- fact, or precise, or commonplace, or familiar manner, others will be touched with feeling, colored by imagination, glowing with persuasive warmth, elevated, dignified, or profound. A repetition of the selections to be learned, with full expression by voice and action, repetition again, and again, and again, until the sentiment of them becomes a living reality to the speaker, is the only way to acquire the ability to indicate to others the true proportions, the relative values, and the distinctive character, of what is to be said.