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OF ENTIRE INDEPENDENCE, (hand slowly raised on the word entire-the elbow bending-then a sudden stroke on the accented syllable of independence-the arm remaining in the air.)

AND IT WILL BREATHE INTO THEM ANEW (attitude brought up very erect-the breast swelling out-both arms and hands presented in earnest appeal.)

LIFE.

THE BREATH OF LIFE. (sudden stroke of both arms sideways and downwards on the word life-the elbows not bendinglook of exultation-the arms then drop unconsciously-the speaker pauses-rests a moment, and begins with a transition of manner on the next passage.)

Remarks on the above examples.-These examples are given as specimens of full and unrestrained earnestness of natural gesture. It will be well carefully to study and practice them. Those who have once mastered the gestures described above, will need no more training in this subject, and will afterwards be liable to no serious faults of action.

It must be remembered, that on the same passage no two perfectly natural speakers will ever gesture precisely alikeneither will a single speaker speak the same passage with precisely the same action in different repetitions, if his manner is in each case perfectly natural and graceful. It is necessary for instructors however, to discipline themselves in the power of repeating without variation.

CHAPTER II.

VOICE.

Every one knows that school-boy tones in reading, and the dull and tedious manner of some speakers, give a sound to the voice that has little resemblance to the tones of an eloquent ex

temporaneous orator. It is well known likewise to be at first difficult, and indeed it is too generally considered impossible, to render a discourse that has been written but not committed to memory, as interesting and eloquent as when a speaker is suċcessfully extemporizing; and that even if the composition be memorized, its delivery cannot readily be made as interesting, as when the words as well as the tones proceed from a felicitous impulse of the moment.

The explanation of these remarkable differences in the prevailing sound of the voice, lies in the fact that speaking to an assembly is a peculiar act of the mind and vocal organs. There are three distinct ways of communicating thought, each of which has its peculiar voice, as distinct from each other as they are from singing. These are talking, speaking, and reading.

In the present chapter we shall consider the peculiarities of the speaking voice.

It is perhaps the general opinion, that speaking differs from conversation merely in loudness and force. This is not true. We may talk with great force of emphasis, with strong gestures and with an extreme degree of loudness, and yet a person overhearing us in another room would never mistake our tones for those of a person speaking. On the other hand, we may speak with great earnestness and force, and yet not be sufficiently loud to be audible across an ordinary audience room. We may also speak in a languid and uninteresting manner,—one which is characterized by want of emphatic force, and at the same time those who hear without seeing us will not be liable to suppose that we are either talking or reading.

These facts prove conclusively that speaking differs from talking or reading, in the peculiar quality of voice which it employs. In additional confirmation we may

mention that this distinction is recognized by reporters of legislative assemblies, inasmuch as they always discriminate between what is spoken in debate and the public conversation that frequently takes place among the members on the subject under discussion.

As stated in the preface, the power of using the speaking voice seems always to be learned at some period considerably later than childhood. Those who begin to practice elocution without having previously gained the power of using this voice, by the practice of declamation in schools or by being accustomed to extemporaneous debate, often experience extreme difficulty in attempting to employ it. There have been some who have practised declamation throughout their college course, without ever making use of it throughout a whole sentence.

There is but one mode by which a person who is unaccustomed to its use can at once break into it. This is by suddenly speaking to persons at a great distance, with an unhesitating abandonment of earnestness, and in a tone almost as loud as a shout. When this experiment is tried, it will be found that the voice strikes into the upper part of the middle, or the lower part of the upper key, and has a peculiar openness and fullness, together with more or less smoothness of sound. There is also some degree of an expulsive and explosive utterance. The breath likewise issues more suddenly and rapidly, and appears to leave the chest with less air remaining in it, than after uttering the same number of words in loud. conversation. So too, when at a pause, breath is taken again, it is done more suddenly and with deeper inspiration.

We hence see the reason why an oratorical delivery is more rapidly acquired by those who address audiences in the open air. The exertion that is necessary in such situations, naturally brings a man into the use of the speaking voice. The excitement likewise which prompts the utterance of auctioneers, lawyers, and partisan debaters, as also the tumultuous zeal of ignorant enthusiasts, have the same effect in developing the voice which we are considering.

Loud and vehement speaking is thus at first the easiest and most natural, and it is well known that in nothing do speakers improve more by practice, than in the power of being audible and forcible, without breaking into a discordant loudness.

It will be well however to remark, that at the present time a fashion seems to prevail among the speakers in the northern and eastern parts of the United States, of studying to subdue the natural loudness of their voices in an extreme degree. By so doing, they not only become often indistinct and inaudible to those in not very distant parts of a room, but descend into a husky and unmusical voice, such as is not only incapable of interesting expression, but disagreeably aspirated and obscure. By subduing the voice in this artificial way, they likewise exhibit a mechanical monotony, which prevents the giving of various expressions, for which an increased degree of loudness is natural and necessary. Cheerfulness, hope, joy, triumph, admiration, and many other emotions, have considerable loudness and openness of tone for their natural language, and cannot be expressed without them.

When a speaker has thoroughly disciplined his voice and ear, in reference to adaptation to larger or smaller audiences, it will be neither necessary nor expedient for him to give himself any concern in respect to the degree of loudness that he may happen to use. His voice will, as it were, instinctively accommo

date itself to the room, and be agreeably audible, without liability to offend the most sensitive nerves by excess of force, while it will perpetually vary in the loudness required for expression, according to his feelings and the dictates of propriety.

Those therefore who wish to acquire command over their vocal organs as rapidly as possible, must practise loud speaking for a part of the time. Instead however, of depending merely on the rude practice above described, in which the voice approximates to a shout, it will be better to consider the voice under the different heads which follow, and to practise exercises which cultivate those separate acts, the union of which produces not only the speaking voice, but that cultivated and musical tone which characterizes those speakers who are not only most agreeable to a delicate and sensitive taste, but who likewise have an effective power over the most obtuse and insensible hearers.

DEPENDENCE OF VOICE ON RESPIRATION.

Even in the calmest and most familiar styles of public address, the speaking voice is more dignified than in ordinary conversation, and may also be rendered more musical and expressive. This results from the fact that in all public speaking, the mind of the speaker is more or less in an elevated and excited state. This emotive and elevated state of mind produces a corresponding condition of body.

The principal effect on the body is a deeper breathing. Reciprocally also, this deeper breathing enkindles the mind and excites the feelings. In strong emotion the thrill of the mind renders the breathing so deep, as to heave up the breast, and send a nervous thrill throughout the entire frame. So too we may to some extent increase the intensity of a feeling that is too languid, by voluntarily strengthening its bodily expression.

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