TV 027 249 430 7 Hollinger Corp. pH 8.5 PN 4121 £, ELOCUTION I ITS FIRST PRINCIPLES BY W. H. BREARE EDITOR " HARROGATE HERALD " AUTHOR OF "VOCALISM : ITS STRUCTURE AND CULTURE FROM AN ENGLISH STANDPOINT," "VOCM. FAULTS AND THEIR REMEDIFS," ETC. \ G. P. PUTNAM'S SONS NEW YORK AND LONDON Cbe Usntckerbocfcer press 1905 1 ELOCUTION ITS FIRST PRINCIPLES BY W. H. BREARE \, EDITOR " HARROGATE HERALD " AUTHOR OF "VOCALISM : ITS STRUCTURE AND CULTURE FROM AN ENGLISH STANDPOINT," " VOCAL FAULTS AND THEIR REMEDIES," ETC. G. P. PUTNAM'S SONS NEW YORK AND LONDON Gbe "Knickerbocker jpress 1905 -flty* LIBRARY of CONGRESS Two Ooples Received DEC 5 1905 CoDyrtffht Entry CLASS > y I - e ha - ve plea ---s-u---re (ah-e) Explanation of Diagram The voice on " Mister" is sustained in the singing or humming form, on one pitch, as 62 Inflections described by the line. Increase the pressure of breath and the hold on the short vowel "a" in "chair." Commence the downward modulation of the voice, on this vowel, with increasing breath-pressure, continuing it on the sustained consonant "r" to the level pitch indicated under "m" in "man." Con- tinue the same falling direction on the vowel "a" in "man," concluding this flow by the sustained consonant "n." It will be found that the two great essen- tials are: sustaining the vowel sounds and causing the consonants to vibrate. The latter seem to whir-r in circular form (as a wheel in motion), and for this reason I have placed small loops in the diagram as they occur. Where the lines are thickest, the breath-flow and vocal power are strongest. The relative elevations of the lines indicate approximate pitch. From the above brief examples, it will be realised what is necessary to make the voice carry and at the same time afford that variety of intonation which obviates monotony of pitch. Inflections, such as I have suggested, assist expressive contrasts of vocal colour, add not only flowing delivery, but something ap- proaching musical form, to speech, which, Inflections 63 however eloquent in thought, would otherwise sound dry and tedious. There is much ana- logy between the vocal colours used in speech and those employed by the graphic artist in landscape painting. All are governed by the fundamental laws of that contrast which se- cures variety. Each distinctive shade of in- flection expresses some particular tinge of emotional feeling. Three ingredients, so to speak, mainly provide colour: (1) The lip and mouth influences, which de- fine the respective facial positions necessary for the vowel and consonant sounds of perfect pronunciation and enunciation. (2) The breath. (3) The contraction, in varying degrees, of the muscles of the chest and throat. As I have already pointed out elsewhere, an even, continuous flow of breath is essential to the elocutionist. In executing inflections, firm wind currents are demanded in order to acquire the security of perfect vocal move- ment. In attempting an inflection, it is neces- sary to sound the key-note, or pitch, from which the inflection starts on its upward course, in such a sustained form as will cause the breath current to flow swiftly. The close 64 Inflections of the first sustained note should, however, be tapered slightly so as to blend more readily with the lighter tone employed in the rising inflection. The impetus gained by the swift setting in motion of the wind will carry the voice on its upward course with ease and facility. It may be noticed that the voice becomes softer and moves quicker as it rises until the tone evaporates at an extreme height, leaving no suggestion of definite pitch. Thus: L The downward inflection starts from an equally sustained base, and diminishes in the same form as the upward modulation: ) In executing the two movements combined, as in representing the "O!" — previously referred to — a brief emphasis should be given by an extra ''push" of breath when the voice Inflections 65 reaches the top of the loop where the down- ward inflection begins — the turning-point. No greater power is required, however, than that which just serves to give the command of voice requisite for the facile turn at this point : It should be the object of the reciter to cul- tivate a flowing delivery. The great charm of an accomplished speaker lies in the smooth current of neatly articulated words, which bear the true emotional spirit they are in- tended to possess. It might be imagined that inflections would rather disturb this continuity by preventing a smooth attack on the next syllable. It is not so, however, if the reciter imbue his mind with the idea that on the same pitch which an inflection ceases, the next tone, inflection, or utterance, gener- ally begins. He should remember that the movement of the voice often describes an almost unbroken succession of curves, which form themselves into loops of various sizes, thus : 66 Inflections When one listens to the sustained vibra- tions of a consonant such as "1" or "n," they suggest the swift whirring of a small wheel impelled by some force. In elocution, the breath is the power. I have found it an aid to the breath to associate the wheel theory with the vibrations of consonant inflections. The small loops or rings indicate the wheel sensations, which the student should cultivate. They will assist sustained tone and flowing vocal movement. Fantastic as the idea may possibly seem to those who have not studied the matter and been forced to this conclusion by the necessity of impressing continuity of tone upon stu- dents, my deductions, I am convinced, are founded upon the natural laws which govern tone-movement. But if the reader should be disposed to reject this theory, at least let him endeavour to study the idea I have endeav- oured to impress upon his mind by means of the above expedients. In private practice, considerable power should be given to inflections, and they must move slowly. In public performance, they will often need to be so light and swift as to become almost imperceptible. In conversa- tion, the voice is constantly moving in the Inflections 67 loop form I have described by the alternations of upward and downward inflections. Every syllable, more or less, realises this circular course; but so delicate is the movement, close observation is necessary to realise the fact. It is the result of involuntary efforts to escape vocal monotony. In such cases, instinct guides us aright. I may here suggest to the student that he should endeavour to speak those successive words which seem to demand it, on one pitch, if possible, and in doing so preserve the same power of voice in order to give the somewhat monotonous, colourless tone which must often precede an emphasis, or series of dramatic modulations. The study of inflections, here indicated, is for the student rather than the speaker — for private practice rather than for public per- formance. In public speaking, or reading, the voice will follow known and tried paths, but must do so unconsciously. Let the speaker and reader endeavour to give the full force of the words used, and inflection will come naturally. But it will not do this unless by careful study we have accustomed the voice to inflect, and become emancipated from the dreary dominion of monotone. 68 Attack ATTACK IT will be noticed that I have employed the term "attack" in these pages. Lest its meaning has not been understood, I will now endeavour to explain its nature and import- ance. By "attack" I mean the initial per- cussion or sound of the voice in pronunciation. One may discharge a continuous current of breath through the mouth without uttering a sound. If we desire to articulate softly and smoothly, we unconsciously create a contrac- tion of certain muscles of the chest and throat, as though preparing to cough. This slight involuntary tension creates vocal tone. We do not naturally set or hamper the throat by restraint which will cause the voice to sound throaty ; hence I say the action is involuntary because spontaneous and natural. When the action is not involuntary we intensify or ex- aggerate the operation, rendering it unnatural. If the voice is to assume various degrees of power in attack, then we must govern, to some extent, the muscular contraction. To do this, simply act as though you were about to cough Attack 69 silently. If hard percussion attack of the voice is demanded, then prepare to cough harder. Regulate this preparation for attack to the power demanded. Supposing the speaker were about to utter "Ah!" he should fill his lungs, hold his breath firmly, but lightly, then release the pent-up breath suddenly upon the vowel, supporting the tone by a swift, in- creasing pressure of wind. This attack should be staccato, and convey, in the first impact of breath upon the vocal ligaments, a single crackle. To understand my meaning, pro- duce, softly, a quick succession of short "u's" (as in "but") very staccato, whilst the breath is continuously flowing with a firm pressure from the chest. The above attack can be employed on all words commencing with a vowel. This concentration of breath gives the best and most resonant quality of voice. It contributes a clean attack. The tension I have mentioned, and breath currents, can be so regulated as to afford a soft note, with no perceptible percussion in it, yet a neatly con- centrated tone as opposed to a scattered note containing distracting elements, fatal to clear, sonorous quality. Another form of attack may be given by discharging the contents of the lungs, without 70 Attack any regulation of wind-flow, in one blast — a swift l ' push ' ' of the breath. This is suitable for single exclamations where the sound of the breath may not be out of place, such as "shame!" Still another attack may be found in the softer and slower sigh of breath which does not give explosive character to the sound ("Ho" in "home"). Each attack, in turn, is specially applicable to some particular mood or emotion. In dealing with vowels, the mouth must always be found in the proper position for receiving the attack of breath. Where con- sonants are concerned, the tongue or lips, as the case may be, should likewise promptly be at their post. In the development of speech there is often little time to dwell upon such details in the way of mouth-positions, etc., as I have mentioned; but the speaker must practise articulation, slowly, at first, in order to acquire clean attack, efficient breath, glib tongue, flexible lips, and expressive counten- ance, all of which bear prominently upon finished elocution. With practice, that which is at first an effort will eventually become involuntary. Sustaining 7 1 SUSTAINING THE speaker acquires emphasis on words by attack and sustained tone. The power of the latter may either be equal in volume throughout the vowel sound or increased. If the former, he dwells longer on the main vowel sound of the syllable or word; if the latter, he describes what in music is known as a crescendo. A crescendo in speaking is much swifter than in singing. The swelling of the tone, therefore, must be quick, almost fierce. This will necessitate firm, sudden, and in- creased flow of breath, and more forceful con- traction of the muscles to which I have alluded under ' ' Attack. ' ' Firm control of the chest is the dominant factor, a fixed mouth on the vowel sound being almost as indispensable. It is sustained breath which ensures the grace and symmetry of flowing phrases ; the delicacy and colour variety of inflections; the stately movement of heroic utterances. The spas- modic speaker, deficient in breath control, re- minds me of a pump devoid of suction — - neither can manage the requisite flow. 72 Sustaining Connective speaking demands more pro- longation of consonants than singing. In- deed, in some instances, consonants are held longer than the vowel sounds. With such words as "known" on long upward inflections the consonants fully share the honours with the vowels. Sustained "m's," "n's," "ng's," or "l's" (in the humming form) act like oil on the orator's machinery. But the breath be- hind them must be strong, swift, enduring. If one make his consonants tell, there is little difficulty in acquiring vocal flow. As I have previously observed, they string the beaded vowels together in one continuous chain. Inflections suspend them in graceful festoons, which lend picturesque form to prosaic ideas. The most perfect matter may be ruined by imperfect delivery; on the other hand, com- mon-place words are rendered beautiful by the grace of symmetrical diction. Punctuation 73 PUNCTUATION IN ordinary conversation, speakers punctuate their remarks more or less instinctively, but often incorrectly. In babyhood, they have learned to talk by rote. In school-days, they acquire some knowledge of the uses of ' ' stops ' ' by the process of imitation. They seldom analyse and grip the mechanism of verbal punctuation . A person observes the marks but fails to understand the processes of thought which prompt them. In conversation, a speaker will often take breath anywhere and anyhow, regardless of awkward interruptions which must occur in the flow and sense of his sentences. Bad punctuation may pass mus- ter in private conversation, but on the plat- form the effect becomes so distorted as to render it difficult for the audience to distin- guish the drift, even, of the speaker's remarks. If a man attempt to punctuate according to acknowledged rules, on the stage he may minimise and not give due effect to his " stops" because he has not accentuated them sufficiently for a large room. He is unable to 74 Punctuation do so because, not being familiar with the component parts of the machinery he uses, he is unable to strengthen the weakest of them sufficiently to give effect to their opera- tion. It is necessary, then, to study some of the sources whence effective punctuation derives its force. Let us commence with the comma (,). The merest schoolboy will at once say, ' ' Stop long enough to count one," and be perfectly accu- rate, so far as he goes; but will not go far enough. Generally, when a comma occurs an upward inflection is involved, and this moves on the syllable or word immediately preceding it. Now, this inflection requires more breath- pressure and rather longer sustentation of tone in a large hall than in a small room. The breath, therefore, should be delivered firmly and strongly upon the vowel from which the inflection springs. It becomes lighter as the chest voice dissolves into the falsetto. Where two commas form something of the nature of a parenthesis, the words between them, bear- ing no essential part of the text, should be spoken on a slightly lower pitch, in a softer tone, and the last comma of the two need not reach the height of inflection which the syllable before the preceding comma had touched. Punctuation 75 The parenthesis [ () ] contains what should be treated as an " aside ' ' and dealt with as I have described in the preceding case. The interrogation point (?) demands a stronger and longer upward or downward in- flection, as the case may be, followed by a more definite pause. The pitch of the sen- tence to which it is attached should be suffi- ciently low or high to permit of one or the other. The interrogation (?) denotes a ques- tion. It terminates a sentence much as does the full point, only that it may demand an upward or downward inflection. The respect- ive modulations all have specific meanings. Each is governed by the particular sense in- volved, or the word emphasised. Take the question: "What time is it?" If "time" be emphasised, the voice would fall ; if the stress be upon "what," the inflection at the end of the sentence should be upward. "Would you" is capable of several different interpre- tions. As a question pure and simple, the voice should rise. A falling voice would sug- gest expectation. The same inflection, with power, might mean defiance. The period or full point (.) denotes the termination of a complete sentence, and is used where an exclamation or interrogation is 76 Punctuation not involved. The voice thereon falls by- downward modulation, which terminates de- cisively on a low pitch. The pause on a period must be governed by circumstances. It is understood to be long enough to count four. The semi-colon (;) requires the voice to fall ; but as it denotes that the words following bear some relation to the previous text, the voice does not descend quite so decisively in pitch or power or remain so long as on the period. The pause, too, though brief, should not become so short as that of the comma. The colon ( :) requires the voice to fall much in the same form as the semi-colon. It pre- cedes a quotation, an example, an explana- tion, enumeration of details, etc. It connects parts of sentences, less intimately associated with a previous part than where a semi-colon would be employed. The colon focuses the mind upon the most essential point of a sentence. That which follows this mark of punctuation should be delivered slowly and impressively, with the confident tone of con- viction. The exclamation (i) demands explosive tones, or strong accent, upon the word which it follows. Pressure of the lips or tongue, as the case may be, upon the consonant, before Punctuation 77 delivering the percussion attack of the breath upon the vowel should be firm and accom- panied by contraction of the muscles of the chest and throat and sudden breath-pressure. The voice may have to remain at a stationary pitch, rise, or fall, just as the emotion may demand. A dash ( — ) denotes a pause, and may pre- lude changes of pitch and mood. It also con- centrates the attention of an audience upon a salient point, and calls for impressive modu- lations of tone. The dash delays and accent- uates, often with effect, the point of a jocular or grave observation. Rules of punctuation, like all others, are subject to exceptions governed by the sense of the text. This branch may be helpfully studied on reference to an excellent little work written by Mr. T. Bridges. 1 No one should be without the valuable yet simple little brochure. 1 37, Maclise Road, West Kensington, London. 7& Mood MOOD " JV/IOOD" indicates some particular frame IV ' of mind. A speaker or reciter is com- pelled to represent in his voice many diverse emotions indicating various temperaments. A single word or phrase may be made to con- vey several meanings. In spontaneous exhibi- tions of passion, the face often indicates the nature of inner feelings that the words fail to convey. On the other hand, facial expression may neutralise the strength of severe words. The reciter in a large hall is often so imper- fectly distinguished that his facial play lends little support to his words beyond that which facial expression undoubtedly adds to tone through appropriate pronunciation and enun- ciation. Every element in an elocutionist's technique has influence, direct or indirect, upon those characteristic modulations which give expression to emotional words. A faulty breath creates wrong emphasis; an unsym- pathetic pitch strikes the jarring note; a wrongly directed inflection conveys the re- verse of what is intended. In successful Mood 79 elocution the mood of a word must not only be accurately diagnosed but felt, looked, and expressed by means of the most perfect tech- nical methods. Any lapse of the technique will result in the destruction of that expres- siveness which realises the mood or spirit of the written thought. Under various heads I deal with the mechanical operation of the technical parts of the elocutionary machine. But even the rules suggested therein must at times be modified to meet the requirements of exceptional moods. Words, after all, are but the medium by which humanity expresses its feelings. Words that do not accomplish this are meaningless. When inadequately ex- pressed, their emotional significance is felt neither by the speaker nor his hearers. A laughing mouth may disguise the solemnity of pathetic words and bright sentiments be dulled by pouting lips. Therefore, facial expression must strongly influence mood. Pronunciation and enunciation likewise affect it. Correct pronunciation delivered without regard to the mood may convey misleading impressions. A capable master of singing recently called in question a mouth-position of a certain vowel as inferior to another suggested, which 80 Mood certainly gave the bald sound of the vowel. But the latter did not realise the required mood, therefore I had modified the mouth- position. This teacher had not thought of the spirit which the word was intended to convey, so whilst he unwittingly uttered a good but inappropriate tone, the word be- came meaningless. Possibly the reader will now understand that he must first of all realise the mood — his pronounciation may still be clear and correct even if he have to modify his vowel by either imparting a brighter tone with a smiling mouth, or pathetic utterance through oval lips. Consonants should likewise be treated in accordance with the sense in which words are employed. If a soft "s" is converted into a fierce hiss by strong and prolonged breath flow, we find that breath may destroy the mood. We enunciate "d" by pressure of the tongue. If that pressure be too hard instead of light, there is an end to the gentle spirit in which the word may be intended. Vice versa, we shall have feebleness instead of stout resolution. Mood influences the strength and length of Mood 81 our words and inflections; tells us whether tones should be crisp or sustained. In fact, we cannot speak or sing intelligently without taking cognisance of it. When a person, in private conversation, gives expression to his feelings, he reveals his mood, but cannot give due effect to it in public because he has not the elocutionary knowledge to enable him to put into his words the significance they should bear. Whilst upon this subject, I must call atten- tion to the difference between the contrasting methods of the speaker, the actor, and the reader. Elocutionists, as a rule, are taught too much upon theatrical lines. Readers, actors, and public speakers should work on very different principles so far as mood is concerned. The actor impersonates a par- ticular character. His own personality must become absorbed in that creation. Here we must have some exaggeration. The reader, on the other hand, represents only the author. In poetry, he is the poet ; in history, the his- torian. It is the author's mood, whatever his style or spirit, to which he must attain. Dangers he should avoid are those of intrud- ing himself, or misconceiving his author. The speaker represents but himself if he would be 6 82 Mood accepted as sincere and convincing; not the casual self of the informal home circle, but the man of earnestness and conviction who has a definite message to deliver, or duty to perform. He must prove effective, but not affected. Stage utterances would be out of place in the pulpit; heroic methods adapted to simple subjects result in burlesque. In dealing with moods, therefore, both reader and speaker should avoid undue exaggeration. Their emotions ought to be delicately sug- gested rather than enforced. Facial Influence 83 FACIAL INFLUENCE THE face is the index of the mind. However well chosen the words, clear the articula- tion, appropriate the gesture, the audience is unlikely to be thrilled with the emotion a speaker may seek to convey, if the face fail to indicate the true state of the mind. The elocutionist, as well as the singer, should, there- fore, not only feel all that his words express, but look it. An expressionless face dis- counts the soulfulness by which the speaker is supposed to be swayed. Audiences realise changes of mood first of all from the facial indications which almost invariably precede those of the actual words. Changes of ex- pression mark the alternations or conflicts of mood as specifically as do inflections of voice. No one can be understood to mean one thing whilst looking the reverse. There is a still more important consideration. The requisite technical processes cannot be fully realised if all the forces of one's nature are not working in complete harmony. It is easy enough to hear in the dark whether a person is making 84 Facial Influence an observation with a smile on his face. In conversation, the same words may assume various meanings, according to the respective manner of utterance. Expression of the face influences character of tone in this way: Mouth and lip positions employed in speaking or singing are numerous, constantly defining changes and combinations of tone. Each gives a particular turn or expression to a word. If the face illustrate the mood, the vocal mechanism is more likely to operate automatically and discharge its functions effectively without thought on the part of the speaker. In pronunciation, each vowel sound has assigned it a definite mouth -position. Each consonant demands a particular em- ployment of the lips and tongue. These can- not be perfectly directed without the mouth assuming those shapes which permit them to perform their respective functions. Facial expression prompts the mouth, lips, and tongue to natural, simultaneous action; thus we secure spontaneous impressions. By the slightest movement of the lips or mouth, one may change the character of the voice. That being so, a student has but to ascertain the operation of the various movements and he may eradicate the undesirable qualities of his Facial Influence 85 tone. Attention to facial influences will do much, if not all, that is necessary in this direction. (The breath has a share in the responsibility.) For example: I have heard a speaker attempt to deliver a light, pleasant, observation with a voice so hard, throaty, and severe as to quite misrepresent the spirit of his words. Such instances constituted a dis- tortion of tone, therefore of sense. Being on a public platform, the speaker could not be natural. Thinking to make the voice carry by physical force, he applied muscular re- straint, as follows: Looked anxious and se- vere, set his throat to control his wind, compressed his cheek, rounded his mouth with tense lips, leaving but a small opening. No wonder his pleasantry fell unsympathetically upon the ears of others. The course he should have taken was as follows : Assumed a smiling expression, which would have given extended lips, maintained a comfortable but steady flow of breath, and confined his pitch to a lower and more conversational tone. This position of the mouth would have made it well-nigh impossible for the speaker to compress his throat, and the voice must have been brighter, more silvery, instead of hard and oppressive. The rounded mouth, slightly drawn in at the 86 Facial Influence corners, acquires tone-fulness, sympathy, and pathos. The above-named positions repre- sent the two emotional extremes. Variants of them provide many intervening characteris- tics and are worthy of careful study, so far as they apply to elocution. Most of these are treated under the various heads where they may be considered to belong. In treating ''Facial Influence," I have dealt first with the mouth and lips because these have direct bearing upon tone quality. The eyes, whilst stimulating to some extent the organs of speech through the channel of sympathy, relate more particularly to manner. The power of the eye, however, should not be under-rated. It can be made to excite many emotions. With the help of the brows, the eye may express surprise, horror, content- ment, or any mood of the emotional gamut. It appears to take many forms and lights. As a matter of fact, these changes are largely suggested by movements of the brows, lids, and lashes. The pupils of the eyes certainly do expand and contract, under the influence of light, shade, or emotional excitement. We have most of us observed what we regarded as a flashing eye (probably the snapping of the lids) and the sudden gleam of the excited Facial Influence 87 orb (the contraction of the pupil possibly). These, however, can only be influenced by un- restrained abandonment on the part of the speaker to his emotional sympathies. He can, however, command such mechanical forces as his eyelids, eyebrows, and muscles of the forehead. But in the employment of these he must enlist the co-operation of his mouth, mind, and face. He may study the action of all these features by observing in private life and from the auditorium of a theatre the working of the human face under the spell of various passions. Simple as they may seem, it is well to charge the mind with a few fundamental expedients, such as the following : The eyes open wide and quickly under surprise, delight, and kindred impulses. Open wide in uncontrolled anger, and the brows are knitted. Close slowly in placid thought or slow cunning. Close partially, spasmodically, with knit- ted brows, in treachery, or cunning that is surprised, threatened, or vanquished. Darken softly under relaxation of mind. Lighten under mental agitation. Open with fixed, immovable stare, me- 88 Facial Influence chanically, under deep thought or con- templation. Smile or twinkle in humour. Dull or expressionless when "out of the picture," and the mind should become in- active. It is unnecessary to attempt to account for all the changes of expression the eyes assume. Aided by the sympathy of the facial influences, undoubtedly they emit a wide range of emo- tional paroxysms. All, however, spring from the workings of the speaker's mind and thus become automatic. The patent axiom, there- fore, must be: Feel what you say, look what you feel. In other words, Be sincere. Conviction weighs. The poise of the head is the background which throws up the facial picture. A few examples are sufficient to indicate the im- pressions these may stimulate : The head held high and firm may indicate courage, defiance, scorn, etc. The head elevated, poised in a listening attitude, suggests inquiry. Resting upon the chest, it may denote despair, grief, resignation. Thrust forward, with extended chin, it may realise aggression, hate. Facial Influence 89 Tossed upward — derision, contempt, in- difference. Shaken slowly — sorrowful, regret, mild dissent. Shaken quickly — either pleasant or con- temptuous disagreement, according to the play of countenance. 9° Demeanour DEMEANOUR THE bearing of a speaker prior to address- ing an audience is a matter of some im- portance. Whilst seated on the platform he is, as stage parlance puts it, "out of the pic- ture," therefore his manner ought to remain quietly dignified and unobtrusive. He should take no cognisance of the audience — not seem mindful of their presence. Restlessness, anxi- ety of countenance, fidgeting of any kind, are to be avoided. If he have occasion to ac- knowledge the private remarks addressed to him by a supporter on the platform, he should acknowledge the civility so quietly as not to attract the attention of the audience in any way. He must resist any temptation towards the usual preliminary of a nervous man in the way of coughing or clearing his throat. His general manner should be that of one who has come to listen thoughtfully to some one else rather than that of a speaker impressed with the importance of his own personality. Now, these suggestions may appear to the young speaker as of little moment, but they Demeanour 91 are really of grave consequence, for the reason that any inappropriateness of deportment is likely to prejudice the mind of the audience in such a way as to disturb sympathetic re- ceptiveness. When the orator rises to speak, let him do so with deliberate, dignified confi- dence. In standing, he should preserve an easy balance upon one foot, with the other advanced diagonally in front, so that his body may sway occasionally from one to the other. It is important, however, that he should ex- ecute no oft-repeated pendulum movement, but when he has occasion to change the poise of his frame, should do so with a slow and easy sway of body. Such movements ought always to be exercised on an emphasised syllable of a word which he desires to im- press upon his hearers. Unlike the concert singer, the speaker may occasionally allow his eyes to rest upon members of the audi- ence in easy succession, as though he were addressing a particular member of the as- semblage. He should not, however, except in rare cases, point his finger at any person. In selecting the portion of the room where he desires to direct his gaze under such circum- stances, he should take care that the indi- vidual is seated well back from the front 92 Demeanour rows, otherwise the shorter range of vision will cramp his body and be likely to result in awkward attitudes. Although a speaker's face may assume expressions illustrative of his moods, when he is indulging in a joke at which his hearers are likely to break into laughter, he should preserve a grave face in order that he may not appear to over-estimate the pungency of his wit. There is another ex- ceptional instance in which a speaker is not compelled to illustrate his words by the ex- pression of his face. This occurs whilst in- dulging in severely critical remarks, when he has no disposition to become fierce or too personal in his denunciation. He may then reduce the sting of his comments to some ex- tent by adopting a pleasantly smiling expres- sion. The contrast herein is frequently as effective as when impassively delivering an extremely humorous joke. He may often minimise the effect of demonstrations of dis- approval by a quiet smile and indulgent manner. I treat gesture in another chapter, and will, therefore, now but briefly warn the speaker against extravagant gyrations of the arm or eccentric movements of the body, unless such are necessary to give point to exceptional Demeanour 93 words by way of illustration. In thoughtful utterances, the manner of the speaker should bear the semblance of calm reflection. His pitch, inflections, and sustaining power of voice ought, therefore, to be in harmony with this contemplative mood; in fact, all that he looks and does must be perfectly in sympathy with the significance of his words. If his re- marks be punctuated by applause, the orator should immediately pause, and, without ac- knowledging the demonstration, stand in a calm, waiting attitude until the interruptions cease, when he must resume his speech at the point where his last audible word ended, or recommence the interrupted sentence. He should not acknowledge, even by an inclina- tion of the head, any applause that may greet him at the conclusion of the speech, but re- sume his seat with the same dignified self- suppression which has marked his demeanour "when out of the picture." 94 Gesture GESTURE APPROPRIATE gesture is demanded not only to enhance the impressiveness of emphatic words, but to relieve the monotony created by an impassive figure. Young and inexperienced speakers are often prompted by enthusiasm to oyer do this branch of the sub- ject. It should, therefore, be the rule to at- tempt as few arm movements as possible. Those which are employed must be thoroughly appropriate and well rehearsed. Effective, in- voluntary gestures sometimes do occur, but are not to be relied upon. It becomes neces- sary, therefore, to study the mechanism of all gestures, and it is safer to begin with the simplest. Before commencing rehearsals, the student should realise the fundamental laws which govern such actions, the first of which is evolutionary development. That which is angular is incomplete, therefore undeveloped. Just as we seek to avoid angularities in tone progression and artistic accomplishments gen- erally, so should we avoid them in gesture. As a flowing voice proceeds by curves, so Gesture 95 should the arm, wrist, and hand move in ges- ture. An arm movement calls into play five sections of the limb, which must be made to move in harmonious sequences. When per- fectly employed the course they take de- scribes the curve of a half-circle or loop. Thus we avoid an angular movement. The first section to be set in motion when the arm hangs at the side is the upper- arm (that por- tion from the shoulder to the elbow) ; next, the forearm, wrist, hand; lastly, the fingers. One might imagine the hand first to move in raising the arm; but it must not be so con- sidered. The leverage comes from the shoul- der. The upper-arm commences to sketch the outline of the curve, then the elbow- joint comes into play, when the upper-arm becomes partially raised and the forearm takes up the development; the wrist -joint having commenced to bend, the hand con- tinues the movement; finally, the curved fingers come into play, completing the half- circle. In the downward gesture, the shoulder- joint acts first, next the elbow, then the wrist. I descibe the movement in this form, but the student, if he prefer, may deal with it in the following way: The arm is hanging at the side (close to the 96 Gesture side). In raising it, describe an upward sweep of the hand in the form of nearly a half- circle. To do this without bending the re- spective joints I have mentioned would give a stiff arm and an awkward movement. Bend the joints slowly, one after the other, at regu- lar intervals, whilst the arm is moving, carry- ing the hand turned downward from the wrist until the arm has nearly reached its fullest height, then continue the movement in its flowing form by turning the hand upward and backward, until stopped by the wrist. Retain this attitude for a moment, the whole body remaining at rest on the pause of the hand. In lowering the arm, extend the whole arm well forward, allowing the respective sec- tions, one after the other, to descend limply. In this movement, carry the hand bent back on the wrist until the whole arm reaches the point where it becomes stretched out hori- zontally. The hand comes into line with the now stiff arm, which descends quicker from this point. As it descends from the hori- zontal position, the hand should be turned downward (until blocked by the under part of the wrist) in rhythm with the descending arm. The effect of this hand expedient is to lengthen or continue the sweep of the downward curve. Gesture 97 This method of gesture produces a supple effect. The arm in rising or falling should not move in line with the body, but proceed some- what diagonally, so as to avoid the stiffness of parallel lines. Curves are essential in gesture and movement. Supposing a speaker's right hand was rest- ing upon his watch chain, near the left pocket, and he desired to gesticulate by extending his arm to the right. He should not send it out straight and stiff, but observe the same de- velopment which took place in the foregoing example. The arm would then be set in motion at the elbow- joint; his wrist would work next, but, to give the curve impression of flowing continuity, the hand would remain bent down and pointed towards the watch pocket until it had described half the curve and pointed out towards the audience; then the hand would slowly bend back on the upper portion of the wrist as it had done in the pre- vious arm-elevating movement. The hand and fingers in such cases act, as the sailors say of their ropes, like so much 1 ' slack " to be " paid out ' ' when the leeway ren- ders it necessary. These ever-essential curves, it will be found, enter into nearly everything. In stage movements, they constantly recur. 98 Gesture An actor to move from the footlights to the back of the stage has to "tack" almost as assiduously as a yachtsman "beating" up in the teeth of a wind. But as the latter comes under the head of "Movement," dealt with in another chapter I must not here pursue this branch of the subject. Straight lines, as I have indicated, are to be avoided in gestures. To elevate the arm and point to the stars with a straight, stiff arm, without even a curvature of the hand, would not only appear ungainly, but must prove such an uplifting as to ludicrously disarrange the setting of the speaker's apparel at a mo- ment when he requires the full possession of his dignity. The arm raised at a comfortable height and curved slightly inward, the hand inclining in the same direction, will generally obviate any such embarrassment and result in a more graceful pose. Should the speaker's hand have occasion to traverse an imaginary horizon, travelling from right to left, there is something incon- gruous between a stationary stare at a given point right before him and the moving hand. It is a simple and effective cure for such a situation if he follow his moving hand with his eyes. This gives a sympathetic and Gesture 99 graceful movement of the head and poise of the body agreeable to the audience. Whenever a speaker uplifts a hand in face of the audience, he should never expose the flat palm, or the full breadth of the back of the hand. This member should always appear in profile. When it is impossible, an elongated fist arranged by curved fingers will do if the smallest point is towards the line of the spec- tators' vision. The exceptions to this rule will arise when illustrating such phrases as "Back, sir!" and ' ' No, no ! " The speaker in these cases might elevate the open palm of one or both hands. The left arm being less supple than the right should have more practice than its fellow. There is, however, some difficulty in the simultaneous employment of these mem- bers, and the variety of desirable gestures available is limited; therefore elaboration is not often safe or desirable. When such ges- tures are adopted, the movements of each arm should describe the same curve and be de- veloped and timed on precisely the same lines. Each should commence and finally resolve into momentary, statuesque repose with absolute precision. The slightest hesitation of either arm, or the hand, which is the last to come ioo Gesture to rest in describing the final outline of the curve, must not occur. It is unnecessary, however, that the left hand should reach quite the same altitude as the right, so long as the outlines of each arm are fairly harmonious. Restricted movements of the arm and hand result in ungraceful angles and spasmodic action. A free and supple limb is indispens- able. This cannot be acquired without ap- preciating the radius to which a sinuous arm must be confined. In employing either the right or the left, it should move from an easy restful position at the side of one's form. The right hand obtains its freest radius to the right of the body, and should move outward and upward in the curved direction to the full extent of the limb. In bringing the arm back to the left, the hand should not pass beyond the centre of the chest. If the simple bend of the elbow is relied upon, the limit of the left movement will be naturally and accurately defined. To exceed the point mentioned would result in an ungainly twist of the body and disturbance of balance. The complete gesture will describe a circle or full loop. The left arm must define a similar movement. At the conclusion of this figure, the hands come down to rest on the right thigh. The hand to Gesture 101 be extended straight in front of the speaker should move upward, pointing downwards on a stiff arm until nearly horizontal, when it comes gradually to the pointing position, reaching the indicating attitude as the arm comes to a pause at the horizontal point. The hand should not then be in a straight line with the arm, but slightly elevated, to give an up- ward curve, and thus again avoid a straight line. If the speaker find it necessary to merge this gesture into that of the uplifted hand (over, but slightly to the right of the head), the hand must drop below the line of the horizontal arm. As the elbow bends and the forearm comes to the perpendicular, the hand points straight upward. The forearm, in continuance of this development, goes back- ward to the shoulder, and as it comes to rest, the hand, now bending back on the wrist, continues the circular form of the gesture, until it lies restfully, and the evolution is complete. The most difficult achievement in connec- tion with this branch of the subject is to present the attitude of doing nothing well. A false movement or gesture is akin to a discord in music. However graceful in progress, it 102 Gesture becomes distractingly uncomfortable unless satisfactorily resolved. The discord in music must melt into a concord, however long de- layed. The gesture should result in a similar resolution — repose. If the body, arm, leg, head, or eye move during the interval of rest, repose is out of the question. The fidgeting of the speaker creates disturbance in the minds of the audience, and the effect of the most gracefully-conceived movement under such circumstances is lost. Perfect impas- siveness for a brief interval must always follow action. Respect these periods of rest as one would observe those of punctuation. In these cases, the face should indicate no emo- tion whatever. Stand and appear as a statue in stone to which the sculptor has failed to impart even a semblance of thought. When you do move, do so with the firmness and animation of definite purpose. As you would give your voice time to travel, so allow the audience to realise the significance of your last gesture. By the same effective pauses, let quotations stand apart from your own spoken ideas. The chief emphasis, or climax, of a move- ment or gesture should occur upon the most emphatic word of the phrase. Where action Gesture 103 accompanies words it should develop in ac- cordance with a sense of rhythm. Both should move in harmonious flow. Rhythmic discrepancies will create angularities destruc- tive of symmetry. io4 Movement MOVEMENT THE basis of body movement is balance. Before a child can walk it must stand. This is not an easy accomplishment for either the child on his feet or the adult novice on the stage. It comes to both through practice. Though I am not dealing with stagecraft, there is connected with movement much of interest to the reciter and speaker, therefore a brief outline of general principles may not be out of place. We preserve the centre of gravity for our bodies by balancing on one foot or the other, or on both. It is sometimes material on which foot we obtain that balance, because it often governs the direction in which we are to face ; and we are supposed, as a rule, to appear to face the person with whom we are con- versing. When listening to an individual on our right (both half -turned to the audience), our balance should be on the left foot; in speaking to that person it would be on the right, or on that foot nearer to the individual addressed. If we were speaking to some one Movement 105 on the left of the stage, from the right, our balance would be found on the left foot. In each of these cases, it would bring us, although standing sideways, "to the front," towards the audience, on whom we never turn our backs when speaking. The foot or leg on which a man obtains his balance I term the "engaged," the other, the "disengaged" foot. In a general way, a man should always en- deavour to mask the disengaged leg by means of that upon which he is balanced. Then he is unlikely to fall into the ungainly position described by two legs awkwardly apart. In pacing backward and forward across the footlights, as a speaker may be inclined to do, he should remember to pause on the right foot when pacing to the right, and on the left when moving left. This will bring him with his face to the audience; otherwise he will find himself addressing the blank wall at the rear of the stage. It is well to know how many steps he means to take on these occasions, also that three steps to the right necessitates commencing with the right foot ; four, with the left. Walking to the left, three steps, commence on the left ; four steps, on the right. 106 Movement As one takes just the number of steps to balance the rhythm of the spoken phrase, it disturbs the flow of the text if one has to put in an extra stride in order to face the audience. To preserve easy balance and graceful carriage, there should be a slight swaying motion of the hips, not particularly noticeable to the casual observer, but sufficient for the student to feel and appreciate. The requisite amount will induce a pleasant consciousness of balance, and absolute control. This should also cause the draperies of women students to hang and move on artistic lines. It is not always effective to walk in a bee- line towards an object near which your "business" calls you, particularly when the shortest course would mean a straight line parallel with the footlights. The movement should be effected in a curved direction, thus : There are many reasons for so doing, but the following will suffice : i. The bee-line, save in some exceptional case, is not a graceful course, because cramped and angular. 2. The curve assists the body to a poise presenting graceful outlines, particularly in Movement 107 the case of a lady, when her train will not only better dispose itself, but gain artistic effect during the progress of the movement. The pleasant little tricks causing draperies to curl around the form are often assisted by curved movements, inducing willowy carriage of the body. In these, the hip and head play important parts. When the form is describ- ing a curve to the left, it should balance or rest on the right hip and foot, the left or dis- engaged foot be pointed outward to the left with the heel in and up, the toe out, conform- ing harmoniously with the general outline of the body. The head must also incline to the left and the upper portion of the body bend in the same direction. The contour of the fe- male form will then describe this poise: \ J The side inclination of the head must not be so extreme as to become angular, otherwise symmetrical outline will not be attained. The approximate inclination may be realised by first fixing the gaze, whilst the head is erect, on some object or point straight before one. The elevation of the head may be corrected by looking at a point either higher or lower, as 108 Movement necessary in the case of being photographed. Then let the student slowly and gradually look to the left, inclining the head more and more as the eye moves, until the desired curve is reached. When this is accomplished, note the object exactly in range of comfortable vision. Return to the erect head, original point, and repeat the operation to test the accuracy of the gauge, and the poise may be then faithfully and promptly accomplished each time. If the distance from observation point to point is calculated and remembered, the same movement can be executed on any other part of the stage at which the student may find herself. Carrying the gaze from object to object assists graceful inclination of the head and body in curved movements. If a gesture is demanded, follow the progress of the moving hand with the eye, allowing the head to incline as the hand moves. For ex- ample: Suppose you are looking toward the right column of a proscenium, with your body turned in that direction, and you want to gesticulate towards some one on the opposite side of the stage, you would describe with your hand and arm this movement: ^ t Movement 109 It would be effected thus: Change balance from right to left foot as the hand starts; in- cline the body to the left and follow the mov- ing hand with the eye. Both will then travel from a point half-way up the right wall of the auditorium, across the room in the above curved line, and rest at a point left high over the corner of the gallery. Hand, body, and eye should all move in sympathy. Movement under these conditions resolves itself into an easy mechanical action infallible in its application. Executing right-about-face from the above starting point, in order to confront the char- acter on the opposite side of the stage, the hand and gaze would travel by the reverse course, thus: It should be remembered that when a speaker is supposed to look another straight in the face, he frequently must not do so for the reason that the first named would appear to be turning his back upon the audience, particularly if the positions were thus : no Movement In such cases, the speaker should direct his gaze across the stage at some point in front of the other person (more towards the audience). If the speaker incline his body slightly to- wards his colleague, in a listening attitude, it will often be sufficient ; the eyes may then rest almost anywhere, because the atti- tude of his figure will indicate the direction in which the remark is addressed. For the reason that an actor has to bring himself towards the audience, it happens that one character may seldom actually look another in the face. For the same consideration, an actor making an exit should hardly ever walk in a straight line to the handle of a door in the side flats. He should take the movement by a curve, which brings him face to the audience. KT Example: He should make for the hinge- jamb of the door, and before reaching it move in a curve up to the door-knob just far enough to allow him to stretch forth his hand to the knob with a free arm movement. Seldom approach a chair, for the purpose of Movement 1 1 1 being seated, in a straight line. Proceed by a curve : Example : Place the finger-tips of the right hand on the nearest corner of the back of the chair ; walk the curve sufficiently far from the chair as will permit of the finger-tips resting on the back. Drop the hand when you have walked out of reach; continue the curve till your last right foot brings you in front of the chair. Keep your balance for a moment on the right foot ; draw your left quietly back to the left side of the chair. Change your bal- ance to the left foot. Then seat yourself by insinuating your frame into the chair with a gentle side-movement of body, and then sub- side, with right foot still extended in the original position; or, just draw that foot backward (keeping a straight leg) as the body comes to rest. In whichever direction you approach a chair, if possible, do so by a curve. Let almost every movement describe more or less a portion of a circle or loop, or a sug- gestion of one. Avoid angular lines! Remember, nature steers clear of them. ii2 Contraction of Vocal Muscles CONTRACTION OF VOCAL MUSCLES \ 70CAL sounds necessitate certain contrac- V tion of the muscles of the throat. This, however, is very slight, and does not amount to the tense expression which results in throaty- quality. It is not incompatible with a per- fectly free throat. The process is involuntary. Every one employs it, unconsciously, in most ordinary speech. When firm, staccato attack is desired this contraction is slightly increased, that is all. If the full breath be held in check and the note vehemently, but crisply struck, the operation is completed without thought of the method by which it is attained. This I term the " check-breath " attack, because the breath is held severely in check before sounding the note. If the tone is to be sus- tained after the clean attack, the flow of breath must be held in check in order that the power of the voice may remain uniform. By this form of attack we acquire a well-rounded resonant tone with the least expenditure of breath. The note at once derives carrying power, and if the voice is to be sustained the Contraction of Vocal Muscles 113 pulsations are easily continued with an eco- nomical flow of wind — if the current be firmly under control. The main contraction of this attack takes place in the chest. In the throat, it is slight and momentary. The above is not applicable, however, to every mood. The voice must often be in- creased gently and insinuatingly. Then the note should be struck softly, almost imper- ceptibly, by a loose, soft breath, which gains force the longer it is maintained, but with little contraction of the throat. This I term "swift crescendo attack." A single note may be made to pulsate in this way without ac- quiring the metallic hardness of the check- breath voice. U4 Large Tongues LARGE TONGUES ABNORMALLY large, or ill-placed tongues obstruct the voice, because they lessen the depth of the sound-cavity — the mouth — by unduly elevating the tongue in the middle. To make the latter lie flat and assume a concave shape is the desideratum. This may be practised by pronouncing the word "thou." Look into the mirror and one may observe the position of the tongue this word gives. Another plan is to touch the lower teeth with the tip of the tongue, with mouth open, and then draw a full breath. Having touched the teeth thus, the tongue should be drawn backward, very slightly, and all thought of the unruly member abandoned. The mind should never dwell upon the tongue or throat, otherwise this consciousness will result in unnatural influences upon tone from either. Bad Voices 115 BAD VOICES SOME vocal organs are better than others, of course ; but there are few so deficient as to be incapable of acquiring agreeable tone. On the other hand, many excellent voices sound disagreeable because they are so abomin- ably distorted by unnatural methods of pro- duction. There is a cure for nearly every vocal ailment — of that I am convinced. Many students (of singing, elocution, stage deportment, etc.) have come under my notice with faults innumerable, yet these shortcom- ings have been duly eradicated on the lines suggested in these pages. If a teacher be of sufficiently analytical mind he will detect the cause. Having discovered this, he may soon find the remedy. No person, however, can do this unless he understands the construction of vocal machinery. Illustrative of the importance of pitch I may mention the case of a graceful young actress who had hitherto played bright, juvenile parts with success. The time came when she must essay that of a mature, sentimental n6 Bad Voices character. Her voice had not been attuned to the requisite mood. It was too high, bright, and, I must admit, hard, for the sad, mellow lines. The voice had to be re- built. This was successfully effected on these lines: A lower pitch, sustained tones, with soft, fluty upward inflections, contrasting with deeper modulations of the more pas- sionate strength. The lower intervals pre- vailing imparted the requisite reminiscent shade of sadness; whilst occasional upward inflections not only gave the softer lights, but presented a singularly musical flexibility and symmetrical range. Thus a change of pitch was able to completely transform a hard, high monotonous voice into a respon- sive organ. Some such expedient is applicable to the piping voice of the speaker destitute of grateful modulations. Alternations of inflection preclude that regular repetition of intervals which creates monotonous delivery. Every modulation of voice should convey contrasting characteris- tics indicative of the emotional state of the mind by which the speaker is swayed. With- out such influences the best of voices will become flat and colourless. By the aid of Bad Voices 1 1 7 appropriate modulations, an indifferent organ may acquire resonance and the flow of mu- sical progression. The shape of the mouth-opening governs the vocal mood. Round, condensed lips create round, compact tone. A large shape- less opening produces scattered tone. A long narrow aperture emits thin, but often bril- liant tone, and conveys a smiling impression. Depressed mouth corners, in oval or round shapes, induce pathetic utterance. Closed teeth lead to reedy, nasal qualities. Various breath-pressures influence the mood of reflec- tive mouth-positions. Pitch, likewise, affects emotional character. Wrong pronunciation may destroy the effects of appropriate facial and breath influences. It will thus be realised that upon the efficiency of the technique de- pends the quality of the voice. Employment of excessive wind results in harsh, breathy qualities; irregular flow, sensations destruc- tive of the rounded, compact note. We often encounter "sandy," "grating," or "fuzzy" tone. Sustained volume, at even power, and the compactness of a fixed mouth on the vowel sound, induce superior tone and the impression of ease and security. Clear enun- ciation heightens the attack and quality of n8 Bad Voices vowels, facilitates tone movement, and in- duces, instinctively, correct flow of breath. Attention to these details will improve the quality of the worst of voices. Reminders 119 REMINDERS ANALYSE all sentences in order to dis- tinguish the relative importance of es- sential as compared with expletive words. The former demand emphasis or inflection. Their meaning cannot be conveyed without employment of the precise technique indica- tive of their sense. One word may convey many meanings. Seek to grasp the author's version of it. Expletive words require no emphasis. They are treated parenthetically. The voice, whether chest or falsetto, is purified by sustaining it at precisely the same strength (whether in loud or soft passages) on the vowel sounds. To thus sustain, equal flow of breath and muscular tension of the chest and muscles of the throat must be pre- served. The longer tone is held, the swifter should be the flow of breath to compensate for that waste of power which comes from gradu- ally diminishing wind in the lungs. To acquire a buoyant voice it is necessary to quicken the flow of breath. A speaker 120 Reminders cannot sustain his tones in such a way as to suggest buoyancy without frequently employ- ing what is known in music as a crescendo. If the tone falter by uneven pressure of the breath, it gives the impression of an un- resourceful organ. Supported by slightly in- creasing wind-flow the voice appears to be endowed with fulness and pliability, which suggest easy, spontaneous delivery and un- limited vocal resource. This I term buoy- ancy. It illustrates the distinction between facile expression and crude vocal movement. Tones unsupported by this method are liable to "sag" or droop, and the utterance becomes tame and dispiriting. Accelerated breath does not necessarily in- volve rapid utterance. It does, however, enhance the purity and vitality of tone quality. Avoid the habit of "swallowing" the end of a word or sentence. This often occurs when the voice falls on a diminishing breath. Remember, that the voice demands stronger breath-pressure on a low than on a high key. The reposeful nature of deep tone is apt to lull the novice into indifference respecting breath support. Reminders 121 Where a soft voice is demanded the flow of breath must be perfectly even, whatever the power employed. Fluctuations in the continuity of breath currents disturb the carrying force of the voice. Don't forget that loud tones travel quicker than the softer ones, and that the sudden, excessive vibrations of the former are apt to overtake and swamp the latter. Give words time to travel. In delivering a phrase or sentence do not increase the power of the voice abruptly, es- pecially if that increase has not been imme- diately preceded by a pause. A crescendo emphasis is generally pre- ferable to an explosive or percussion attack. The breath-pressure upon such consonants as "1," "m," and "n," often needs to be stronger than on open vowels. Such pressure must be regulated by the particular emotional quality the text de- mands. In dialogue, when taking up a cue from the last speaker, avoid the pitch just employed by that character, otherwise a monotony will ensue which renders it difficult for an audience 122 Reminders to distinguish the speaker and intelligently follow the lines. As to order of study: i . Commence by acquiring ease of throat, tongue, and jaw. Let this be continued until you feel no parts. 2 . Then it will be found easy to deal with the management of the breath. The false, upper control being removed, the true con- trol at the base of the lungs becomes first necessary, then easy. 3. Proceed to pronunciation of the vow- els and enunciation of the consonants, tak- ing particular care to avoid the errors un-learned under 1 and 2. 4. Emphasis and inflection may then be attempted along with gesture, etc. It will help the student to regard words as pos- sessing an inherent vitality and as if they were pictures of the ideas they represent. By long connection, idea and word are as- sociated, and clearness of words is of the greatest assistance to the mind of the hearer. 5. The last and final direction, more im- portant than any, is: Having first become mechanically perfect in every detail, then forget all we have learned, concentrate upon Reminders 123 our subject and our audience, and, above all, forget the speaker. This is true elocu- tion ; but those cannot forget who have never remembered. LIBRARY OF CONGRESS 027 249 430 7