Изображения страниц
PDF
EPUB

ficulty arises chiefly from the multiplicity of the images, and the brevity of the expression; consequently, if the speaker is not careful to pronounce every line with due deliberation, his gesture makes confusion only, and gives an air of mummery to his recitation. This condensation of images occurs in almost every line; but the twenty-sixth line, which consists of only four words, is remarkable. Helpless immortal! insect infinite!"

[ocr errors]

To give force and variety, and, at the same time, simplicity and gracefulness to gestures so heaped on each other, is attended with no inconsiderable difficulty. But even should the speaker's manner, in the recitation of these lines, prove unexceptionable in this respect, the difficulty is but half conquered. They do not, indeed, require any considerable variety of voice; but the eye and the countenance of the speaker must be full of expression and intelligence: he must appear to be rapt in meditation, which rises into sublimity as it proceeds, and inflames, as it catches the rapid succession of thought. On these accounts, this passage is seldom recited successfully.

After what has been said in the analysis of the other pieces, a few observations will suffice for this.

Line 4, "aright," continuous gesture to the end of the 5th line, where the hand falls to rest with some degree of force, noted R st, rest, striking. The hand, generally, in falling to rest, drops quietly and imperceptibly by its own gravity, and it is then noted with a simple R; but sometimes the hand is struck down forcibly, and then it is noted, as above, R st.

Line 8. "How much;" the x, in the fourth place, means that the arms are to be extended forwards eagerly.

Line 14, 15, 16, six epithets, antithesis, and a climax: the voice and gesture must increase in energy, and on "he," in the 16th line, complete the climax. The first, in each pair of gestures, is preparatory to the subsequent, in the antithesis.

Line 23 to 25. Antitheses and catachreses heaped on each other, each requiring a separate gesture, strongly contrasted with that to which it is opposed.

Line 29. Fst, the hand striking the forehead.

GENERAL REMARKS.

In order to render every circumstance perfectly intelligible, I have marked with the notation letters the gestures in the preceding examples more minutely than is necessary for general use. For general use, it is sufficient to note the most important circumstancos, leaving the filling up to the judgment of the speaker.

In the recitation of descriptions of any kind, the speaker must, in imagination, have the picture before his eyes, and each object must be disposed in the same order as if actually painted. If this imaginary picture be faulty in the composition, confused, or ill-grouped, the gesture will perplex, rather than calighten; but, if well conceived, and well disposed in its parts, the speaker will seem to give it the interest of life by his skilful gesture and recitation; and the auditor will almost imagine that he actually contemplates all that the speaker describes.

Impassioned compositions, delivered with proper feeling and expression, open, in like manner, to the view of the hearer, the internal operations of the speaker's mind, a contemplation still more interesting than any scenes of external nature which can be presented in description.

As, in writing, even an appropriate term must not be used too frequently, so in this art, the same gesture, however expressive, must not be too often repeated. Variety is graceful, and requires that similar gestures, as well as similar words, should be separated by those which are diverse.

In oratorical action, it is a general rule that each new idea requires a new gesture. But important ideas, only, require distinguished gesture. For these last, therefore, should be reserved the species of gestures named emphatic; for the former (which are the most numerous), the discriminating will be sufficient. As to frequency, the propriety of gesture will be found to depend on the deliberation and expression of the speaker. If the feelings are not alive, and if the lines are not pronounced with due deliberation, the gestures will appear to be too numerous. In the preceding examples they may seem to have this fault, from the circumstance that it is my object to exhibit at large the greater part of their minute connexions and transitions. A little attention, however, will show, that much, still, has been left to be supplied by the judgment of the reader.

The notation, and the analytical observations on the foregoing pieces, will, it is conceived, afford sufficient information to such as may desire to assist their rhetorical studies by this system. I would not recommend that the young speaker, in using this notation, should mark every possible passage in his discourse, in the manner of these examples; for such minuteness would lead to embarrassment, unless preceded by much labour. The utmost advisable notation should not exceed a few marks on particular passages, and those separated from each other; the filling up of which should be trusted to the feelings of the moment. But the best method, in all respects, for acquiring a finished rhetorical delivery, is the private practice of declamation, which is supported on the autnority of the great masters and models of oratory, Demosthenes and Cicero. The aspiring rhetorical student should select one or more celebrated orations, couched in the style that he wishes to adopt; these he

should carefully subject to all the rules of notation; he should study them, and commit them to memory; he will exercise on them all the powers of his voice, his countenance and gesture; and, like Demosthenes, consult his mirror, and obtain the opinion of a judicious friend on his performances. The knowledge and facility, which, by repeated exercises of this kind, he will acquire in rhetorical delivery, may be transferred, with advantage, to his own compositions which are to be delivered in public; and, without hazarding the inconveniences of particular notation, he will find himself pos sessed of such a store of various, forcible, and expressive action, that, whatever his feelings shall suggest at the moment, he will be able to execute in a satisfactory manner.

QUESTIONS

TO BE ANSWERED BY THE PUPIL.

ELOCUTION.

Page 15. What is Elocution? What does Elocution comprise? What does the science of Elocution embrace? What does the art of Elocution embrace? How is Elocution divided? What is Vocal Gymnastics? What is Gesture? How is Vocal Gymnastics subdivided?

ARTICULATION.

Page 16. What is Articulation? What is Pitch? What is Force? What is Time? Can the elements of vocal language be formed separately? What is good articulation? What advantage results from good articulation?

Page 17. Can one be a good reader, or speaker, whose articulation is imperfect? What is the condition of the organs of articulation in those who have never been in the practice of pronouncing their words distinctly? What is the best method for rendering the muscles of articulation obedient to the commands of the will?

Page 18. What are the elements of vocal language? What is the number of letters in the English language? What is the number of elements in the English language?

Page 19. How are the elements divided? Describe the vow. els-the subvowels- the aspirates. Pronounce the vowels-the subvowels. - the aspirates.

Page 20. Why are not C, J, Q, and X, classed with the elements?

Page 21. How are the vowels divided? What is a monothong? By what letters are the monothongs represented? What is a diphthong? By what letters are the diphthongs represented? What are the constituents of the diphthongs? What is a triphthong? By what letters are the triphthongs represented? What are the constituents of the triphthongs?

Page 22. Are there any other diphthongs and triphthongs? By what letters are they represented? Do they increase the number of the elements? Give an analysis of them. What is the condition of the aperture of the mouth, during the utterance of a monothong? - -a diphthong?. a triphthong?

Page 23. Of what does B consist, and how is it formed? Of what does D consist, and how is it formed?

Page 24. Describe G. What is L? What is M? What is N? What is NG? What is R, and how many varieties are there of this element? When should R be trilled, and when made smooth?

Page 25. What is TH, in then, and how is it formed? What is V, and how is it formed? Describe W. Describe Y. What kind of a sound is Z, in zone, and how is it formed? What is Z, in azure, and how is it formed? How is F formed? What is H? In how many ways may H be uttered? How is K formed? Page 26. How is P formed? Describe S. Describe SH. How is T formed? Describe TH, in thin. What is WH, and what posture of the mouth does it require ?

Page 27. Are there any elements that require more than one posture of the mouth? How is a vowel exploded? What advantage results from exploding the elements?

Page 30. What is defective articulation? Is it common? From what does it arise? Children are apt to say day for gay; tate for cake, &c. how may these faults be corrected?

Page 31. Some children pronounce John, don; Charles, tarles, &c.-how may these faults be corrected?

Page 32. Some persons confound V and W-what exercises will be found beneficial in correcting these faults? In correcting errors in articulation, why is it advantageous to practise the exercises before a mirror? What is lisping? What is the remedy for lisping?

Page 33. What is stammering? How does the cause operate? How is stammering cured? Does every case require the same treatment? Can any one treat stammering successfully?

PITCH.

Page 38. What is pitch? There are two divisions of pitchwhat are they?

Page 39. What is the Diatonic Scale? What is the order of the scale? What is the octave?

Page 40. What is an interval? What is a discrete interval? What is a concrete interval? Name the principal intervals. What is the difference between a major third and a minor third? Page 41. How many sorts of voice do we employ in the expression of our thoughts? Describe them. What do the Italians mean by the terms voce di petto and voce di testa?

Page 42. Describe the whispering voice. In what respect does the female voice differ from that of the male? Describe the voices of boys. How is the voice divided? What is the orotund voice?

Page 46. To what range of pitch is the speaking voice mostly

« ПредыдущаяПродолжить »