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2 Liberty and Slavery... Ib. 226 21 Hotspur's Description of
of Elon College Jb. 240 28 The Pleasures of Retire-
try Church-yard Ib. 243 29 Genius
Mrs. Barbauid 247 31 Novelty
12 Ode to Content Ib. 250/32 The Hamlet Warlon 288
13 Ode to Fear Collins 252 | 33 The Vagrant Anon. 289
14 Ode to Truth ...::. Mason 253 34 The Parish Poor House
15 Ode to Fancy Warton 255
16 L'Allegro .......... Milton 259 35: The Sporting Clergyman
17 Il Penseroso
18 The Progress of Life
36 The Polite Clergyman
Aulus Mauritius 292
3.9 The Entry of Boline broke 37 The Evening Walk
and Richard into London
**.. Hurdis 295..
»S..................... Ib. 268)
BOOK 8.--PATHETIC PIECES.
Juba and Syphax. Addison 31625 Antony's Funeral Oration
Venice Preserved 324 28 Hamlet's Soliloquy on his
Mother's Marriage... Ib. 363
....... Earl of Warwick 327 | 29 Hamlet and Ghost Ib. 364
12 Orfando and Adam. Shaks. 330 50 Hamlet's Soliloquy on
JS Scroop and Richard ...16. 332 Death.
14 Hotspur and Glendower 31 Soliloquy of the King in
.. Ib. 331 Hamlet
15 Hotspur reading a Letter 32 Ode on St. Cecilia's Day
16 Henry IV.'s Soliloquy on 33 Alexander's Feast. Dryden 372
Ib. 337 34 The Curate Penrose 376
17 Henry IV. and Prince 35 The Dying Christian to
18 Henry V. to his Soldiers
36 To-morrow ............
...... Ib. 341 37 The Creation required to
19 Henry VI. Warwick, and
praise its Author. Ogilvie 380
Cardinal Beaufort.... Ib. 343:38 AD Address to the Deity
Much declamation has been employed to convince the world of a very plain truth, that to be able to speak well is an ornamental and useful accomplishment. Without the laboured panegyrics of ancient or modern orators, the importance of a good elocution is sufficiently obvious. Every one will acknowledge it to be of some consequence, that what a man has hourly occasion to do, should be done well. Every private company, and almost every public assembly, afford opportunities of remarking the difference between a just and graceful, and a faulty and unnatural elocution; and there are few persons who do not daily experience the advantages of the former, and the inconveniences of the latter. The great difficulty is, not to prove that it is a desirable thing to be able to read and speak with propriety, but to point out a practicable and easy method by which this accomplishment may be acquired.
Follow Nature, is certainly the fundamental law of Oratory, without regard to which, all other rules will only produce affected declamation, not just elocution. some accurate observers, judging, perhaps, from a few unlucky specimens of modern eloquence, have concluded that this is the only law which ought to be prescribed; that ail artificial rules are useless; and that good sense, and a cultivated taste, are the only requisites to form a good
public speaker. But it is true in the art of speaking, as well as in the art of living, that general precepts are of little use till they are unfolded, and applied to particular
To observe the various ways by which nature expresses the several perceptions, emotions, and passions of ibe human mind, and to distinguish these from the mere effect of arbitrary custom or false taste; to discover and correct those tones, and habits of speaking, which are gross deviations from nature, and as far as they prevail must destroy all propriety and grace of utterance: and to make choice of such a course of practical lessons, as shall give the speaker an opportunity of exercising himself in each branch of elocution : all this must be the effect of attention and labour; and in all this much assistance may certainly be derived from instruction. What are rules or lessons for acquiring this or any other art, but the observations of others, collected into narrow compass, and digested in a natural order, for the direction of the unesperienced and unpractised learner? And what is there in the art of speaking, which should render it incapable of receiving aid from precepts?
Presuming, then, that the acquisition of the art of speaking, like all other practical arts, may be facilitated by rules, I proceed to lay before my readers, in a plain didactic form, such rules respecting elocution, as appear best adapted to form a correct and graceful speaker.
LET YOUR ARTICULATION BE DISTINCT AND DELIBERATE.
A GOOD articulation consists in giving a clear and fuil utterance to the several simple and complex sounds. The nature of these sounds, therefore, ought to be well understood; and much painis should be taken to discover and correct those faults in articulation, which, though often ascribed to some defect in the organs of speech, are generally the consequence of inatiuntion or bad example.--
Many of these respect the sounding of the consonants. Some cannot pronounce the letter 1, and others the simple sounds expressed by r, s, th, sh; others generally ont the aspirate h. These faults may be corrected, by reading sentences, so contrived as often to repeat the faulty sounds; and by guarding against them in familiar conversation.
Other defects in articulation regard the complex sounds, and consist in a confused and cluttering pronunciation of words. The most effectual methods of conquering this habit, are, to read aloud passages chosen for that purpose, (such for instance as abound with long and unusual words, or in which many short syllables come together,) and to read, at certain stated times, mucis slower than the sense and just speaking would require. Almost all persons, who have not studied the art of speaking, hare a habit of uttering their words so rapidly, that this latter exercise ought generally to be made use of for a considerable time at first for where there is an uniforinly rapid utterance, it is absolutely impossible that there should be strong em. phasis, natural tones, or any just elocation.
Aini at nothing higher, till you can read distinctly and deliberately.
Learn to speak slow, all other graces
LET YOUR PRONUNCIATION BE BOLD AND FORCIBLE.
An insipid flatness and languor is almost an universal fault in reading, and eren public speakers often suffer their words to drop from their lips with such a faint and feeble utterance, that they appear 'neither to understand, or feel what they say themselves, nor to have any desire
at it should be understood or felt by their audience.
This is a fundamental fault: a speaker without energy, is a lifeless statue.
In order to acquire a forcible manner of pronouneng your words, inure yourself while reading to draw in as