The American Union Speaker

by John D. Philbrick

"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pupil must pay attention to the motions of his limbs, but when practice has made the movements familiar, his mind is withdrawn from them.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 But when he comes to practical delivery, then the mind should be withdrawn from the manner of utterance, and concentrated intensely upon the matter,—the thoughts and feelings to be expressed.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.

GESTURE.

The limited space allotted to this introduction will not permit a full discussion of this topic, and I must content myself with presenting a few general observations concerning it.

The little child, in the unconscious freedom of childhood, before his actions and manners have been modified by the restraints of artificial life, affords the best model of gesture. His instinct prompts him to that visible expression of his thoughts and feelings

"Which we are toiling all our lives to find."

And it may be assumed as a general fact that external expression, unless repressed by habit or design, usually corresponds with internal emotion. The great desideratum in gesture is to make the visible expression in delivery harmonize with the audible, or, as Shakspeare has it, to "suit the action to the word, and the word to the action."

Professor Russell, in his excellent analysis of this subject says, "The true speaker must have a true manner; and of the five great attributes of genuine expression in attitude and action, TRUTH stands first, followed by FIRMNESS, FORCE, FREEDOM, and PROPRIETY. GRACE, which is sometimes added as a sixth, is, in all true manly eloquence, but another name for the symmetry which flows from appropriateness; and, in masculine expression, should never be a distinct object of attention."