While the subject of primary school reading is not discussed directly, the primary teacher should derive considerable assistance from the book, inasmuch as it aims to present the standard of criticism and the psychology of reading. With him rests to a great extent the success of any method of oral expression. That he should have a clear conception of the goal of the reading lessons and the manner of reaching it is therefore beyond dispute.
The book has a double purpose. First, to assist the teacher to teach reading; second, to help the teacher to improve his own reading. The latter purpose explains the amount of illustrative matter, and also the fact that some of this is beyond the grasp of young and immature minds.
[PART ONE]
THE CRITERIA OF VOCAL EXPRESSION
[CHAPTER I]
THE CRITERION OF TIME
It must be clear that no progress can be made in the teaching of any subject unless the teacher possess a definite standard of criticism; and, furthermore, it must be granted that the teacher of reading does not possess this standard. We have a standard in spelling, in arithmetic, in geography, but none in reading—at least none clearly apprehended and scientifically applied. It is, therefore, the purpose of the first part of this book to present those elements of vocal expression—the four criteria—a knowledge of which is indispensable to any progress in the teaching of reading. These are, Time, Pitch, Quality, and Force, the first of which we now proceed to study in detail.
In Professor Raymond’s admirable work, The Orator’s Manual, there appear these significant words: “The relative time apportioned to a word indicates the mind’s measurement of it,—represents the speaker’s judgment as to the amount of meaning or importance that it conveys.” A moment’s thought must convince us of the truth of this statement. Making due allowance for certain speakers, who, for one cause or another, have an unusually slow or fast utterance, the principle laid down by Professor Raymond is, without doubt, psychologically sound. In fact, it is a platitude; but like many another platitude, its truth is so close to us that we fail to perceive its meaning and application. An additional proof of the soundness of this principle is found in music. A solemn dirge, a funeral march, an anthem of praise is rendered in slow time; while moderate and fast time seem the fitting expression of the lighter moods.