The American Union Speaker

by John D. Philbrick

EXPRESSION

This term is used here, not in its limited and technical meaning, but in its largest sense, as a convenient one to denote the practical application of the principles of vocal culture which I have recommended. We will suppose the student to be thoroughly trained in enunciation, that his utterance is distinct and his pronunciation is correct, and that his voice is fully developed and well modulated. The question now arises, How is he to be guided in the right use of his powers of speech in the delivery of a given piece? On this point there is a wide difference of opinion among writers on elocution. On the one hand there are those who contend that, in the delivery of every sentence, the application of emphasis, pause, pitch, inflection, &c., should be governed by definite rules. In accordance with this theory, they have formed complex systems of elocutionary rules, for the guidance of pupils in reading aloud and in declamation. On the other hand, there are authorities of eminence, who regard all specific rules for the management of the voice in speaking as not merely useless, but positively injurious. Most prominent among the latter class is Archbishop Whately who, in speaking of the method of teaching expressive delivery by rules, says:—"Such a plan not only directs us into a circuitous and difficult path, towards an object which may be reached by a shorter and straighter, but also in most instances completely fails of that very object, and even produces oftener than not, effects the very reverse of what was designed." Reprobating very emphatically all systematic attention to elocution as an art, this eminent author advocates what he calls the natural manner of speaking, for the attainment of which he prescribes the rule, "not only to pay no studied attention to the voice, but studiously to withdraw the thoughts from it, and to dwell as intently as possible on the sense, trusting to nature to suggest spontaneously the proper emphasis and tones."

The true course seems to me to lie midway between these two opposite extremes. While it is useless to attempt to reduce to exact system all the modifications of voice to be employed in the delivery of both plain and allegorical language, still there are many important elocutionary rules and principles which are eminently useful for the guidance of the student. Because Walker fell into the error of attempting to carry his principles too far, and perplexed the student with an endless list of rules, it does not follow that all rules should be disregarded. His rules for inflections are, no doubt, too complex and artificial for ordinary instruction in elocution, but those found in the works of Dr. Porter and Professor Russell are calculated to afford important aid; and Professor Mark Bailey, in his Introduction to "Hillard's Sixth Reader," has still further simplified the subject. The following principles which he lays down for regulating the inflections are at once comprehensive and practical.

"The 'rising' and 'falling' slides separate the great mass of ideas into two distinct classes; the first comprising all the subordinate, or incomplete, or, as we prefer to name them, the negative ideas; the second comprising all the principal, or complete, or, as we call them, the positive ideas.

"The most important parts of what is spoken or written, are those which affirm something positively, such as the facts and truths asserted, the principles, sentiments, and actions enjoined, with the illustrations, and reasons, and appeals, which enforce them. All these may properly be grouped into one class, because they all should have the same kind of slide in reading. This class we call 'positive ideas.'

"So all the other ideas which do not affirm or enjoin anything positively, which are circumstantial and incomplete, or in open contrast with the positive, all these ideas may be properly grouped into another single class because they all should have the same kind of slide. This class we call 'negative ideas.'

"Positive ideas should have the falling slide; Negative ideas should have the rising slide.

"All sincere and earnest, or, in other words, all upright and downright ideas demand the straight, or upright and downright slides.

"All ideas which are not sincere or earnest, but are used in jest, or irony, in ridicule, sarcasm, or mockery, in insinuation or double-meaning, demand the crooked or circumflex slides."

These rules taken in connection with the accompanying brief but clear and precise explanation of the meaning attached to the words positive and negative, constitute the most admirable generalization that I have met with in elocutionary works of more recent date than that of Dr. Rush. And, indeed, Professor Bailey's whole treatment of that part of elocution now under consideration, is the best illustration I can name of the middle course which I recommend. Avoiding alike the ultra "artificial" system of Walker and the ultra "natural" system of Whately, he combines in his instruction the excellencies of both, without their faults. He is both philosophical in his theory, and practical in its application. He attempts only what is practicable. He insists on analysis, but his analysis is at once simple and comprehensive. He classes the different kinds of composition with respect to the emotions, as follows,—1. Unemotional; 2. Bold; 3. Animated or joyous; 4. Subdued or pathetic; 5. Noble; 6. Grave; 7. Ludicrous or sarcastic, 8. Impassioned,—and then indicates the modifications of voice appropriate for each.

Now such a course of training based on such principles, especially if pursued under a competent instructor, cannot fail to be highly beneficial. Experience has proved it. Whately is evidently in error in wholly proscribing attention to the voice in speaking. In learning to dance, the pupil must pay attention to the motions of his limbs, but when practice has made the movements familiar, his mind is withdrawn from them. They then become natural. Just so will the student of elocution. In his disciplinary exercises he must attend to his voice. He must become accustomed to the correct application of tones and inflections in the delivery of passages which illustrate them. But when he comes to practical delivery, then the mind should be withdrawn from the manner of utterance, and concentrated intensely upon the matter,—the thoughts and feelings to be expressed. In private rehearsals, the management of the voice will be a very prominent object of attention. Declamation is a sort of transition stage, or intermediate exercise between private rehearsal and practical delivery at the bar, in the pulpit, or on the platform, and will require more or less attention to the voice, in proportion to the progress already made by the pupil. Judicious practice will gradually carry him to that point where he will wholly cease to think of his manner, and become entirely absorbed in his subject. He then becomes natural. But even the most accomplished orator must occasionally give some thought to his voice. When he rises to address an audience in a new place he must consider the circumstances,—the capacity of the apartment, the nature and temper of his auditors, &c., and pitch his voice accordingly. In other words, the speaker must on all occasions give a general attention to his voice,—sufficient, at least, to adapt it to the requirements of the position in which he is placed, modifying it in the progress of the discourse, as the necessity of the case demands. If the matter of his discourse is very familiar, the skilful speaker may greatly augment the effectiveness of his delivery by more particular attention to the manner, while he will seem wholly absorbed in the spirit and sense of what he utters.