In giving the succeeding instructions, it must be borne in mind that the power and acuteness of hearing is possessed in a greater or less degree by different individuals, and depends upon the sensibility of the auric nerves. It will not be out of place nor uninteresting to show the effect of sound and the manner in which it is heard by the organs of the ear. It is said that the human ear is capable of appreciating as many as twenty-four thousand vibrations in a second, and that the whole range of human hearing, from the lowest note of the organ to the highest known cry of insects, as of the cricket, includes nine octaves.
Sound first strikes the drum or tympanum, a thin membrane which closes the aperture of the ear; when this drum vibrates by the sonorous undulations of the external air; the vibrations are communicated by minute bones, muscles, and fluid in the cavity of the ear, and are then conveyed to the brain; and to show how absolutely necessary it is that all the organs of the would-be ventriloquist should be entire and without fault to succeed well, we will show how the ventriloquist makes that nice distinction of the gradation of sound, and by which he is enabled to judge whether he is causing his voice to appear at the proper distance from his audience or not.
Let any one firmly close both ears by stopping them, then speak a few words; now, as the cars are stopped, the sound cannot enter immediately to the drum of the ear, but it takes cognizance of the sound by a passage called the eustachian tube, which extends from the back part of the mouth to the cavity immediately behind the drum of the ear.
The sound vibrations made in the mouth are transmitted along this tube to the interior part of the organs of hearing. Now it is by a nice judgment of sound by this tube that the professional ventriloquist judges the majority of his voices, especially those greatly obscured or muffled. Not only must the auric nerves of the would-be ventriloquist be perfect, but he will become more proficient as he is able to study and understand the human voice. There is the language of emotion, or natural language. When we say natural, we mean the language by which the feelings manifest themselves without previous teaching, and which is recognized and felt without teaching. Some of them are the scream of terror, the shout of joy, the laugh of satisfaction, laugh of sarcasm, ridicule, &c., which are made by man, and understood by fellow-men, whatever may be the speech or country of the other.
There are also distinct qualities of voice, peculiar to each person, both in tone and quality, and the best practice is to try and imitate three or four people’s voices, and let them be of a different tone and pitch.
The ordinary compass of the voice is about twelve notes, and a very good practice to the attainment of the art is to call aloud in a certain note, and then in the octave to that note; do this several times a day, changing the note, also speak a sentence all in the same note or pitch, properly called intonation, loud at first, and then by degrees lower; this kind of practice will enable the ear to judge of the modulation required to make a voice appear to recede or come near by degrees.
CONCLUDING REMARKS.
When the student is acquainted with the voices before described, he may imitate many others by contraction and expansion of the glottis, and by modification of the cavity of the pharynx and mouth. The best way to practice is in a room by himself, to talk loud, and, while so doing, to make all sorts of contortions with the muscles of the mouth and jaws—first fixing the jaws in the manner already described, then drawing the lips inward, next putting them forward, at the same time putting the tongue in different shapes and positions in the mouth; also by speaking in the natural voice, and answering in the falsetto pitch, which is the imitating voice for women and children.
We are confident that enough has been said to enable any one with a good range of voice to attain proficiency in the art; the student always remembering (and it cannot be too often repeated) that to render a voice perspective, the most essential thing is to attend to the study of sound as it falls upon the ear; then imitate that sound by the different contractions and expansions of the muscles of the throat, mouth, face and jaws. During these various contractions and expansions, draw in a long breath and talk, first rapidly, then slowly, but always with a slow expiration of breath. Do this a dozen times consecutively for several days, at the same time taking particular care to elevate and depress the roof of the mouth, especially the back part, as this movement will cause the voice to appear near, or at a distance. Ample directions have been given how all this is done, but let it be understood that it is most essential. The student may then practice before a friend, and he will be astonished to find that he can deceive any listener, as to the point from which the sound comes; and will be gratified that he has become the source of great amusement to himself as well as in the circle in which he moves.
Thus we have acquired a working power in the art which, we trust, we have now explained to the satisfaction of the reader. The progress of the student will, of course, be facilitated by an inherent propensity of mimicry, which often approaches some of the minor attainments of ventriloquism. In every company some person may be found who, without any professional instruction, can give admirable imitations, of the voice, gait, and peculiarities of a friend or acquaintance; thus proving that Nature, to some extent, supplies the basis upon which, if we may use the phrase, the complete superstructure of vocal illusion may be raised. The possession of this quality would amount, comparatively, to little, without instruction and perseverance. Here, as in other respects, practice makes perfect; and, more than that, a diligent application of our rules will invest the originally defective amateur with an attainment which the ignorant will attribute to the possession of a supernatural gift.