The American Union Speaker

by John D. Philbrick

"High on a throne of royal state, which far
Outshone the wealth of Ormus. and of Ind,
Or where the gorgeous East with richest hand,
Showers on her kings barbaric pearl and gold,
Satan exalted sat."

What has been said thus far, relates wholly to preparatory training in the elements of elocution. I have dwelt upon this theoretical department of my subject, because of its transcendent importance. But I do not mean to imply, in anything that has been presented, that the pupil should be confined exclusively to this disciplinary drill, for a long period, without attempting practical exercises in reading and declamation. On the contrary, I would recommend that this practice on the vocal and expressive elements be carried forward together with practice in speaking pieces. Exercises in vocal gymnastics, such as I have now indicated, should be commenced with the first stages of education, and continued, with gradations adapted to the age and progress of the pupil, through the whole course of instruction, whether longer or shorter. The value of thorough elementary training is well illustrated by the following anecdote respecting the education of the ear and the singing voice:—

"Porpora, one of the most illustrious masters of Italy, having conceived a friendship for a young pupil, exacted from him the promise that he would persevere with constancy in the course which he should mark out for him. The master then noted upon a single page of ruled paper, the diatonic and chromatic scales, ascending and descending; the intervals of third, fourth, fifth, &c. This eternal page occupied master and pupil until the sixth year, when the master added some lessons in articulation and declamation. At the end of this year, the pupil, who still supposed himself in the elements, was much surprised when Porpora said to him, 'Go, my son, you have nothing more to learn; you are the first singer of Italy, and of the world.' The master had spoken the truth, for this singer was Caffarelli, the greatest singer of the eighteenth century."

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.