網頁圖片
PDF
ePub 版

expected to use the following work on elocution,) would the author commend this practical method of improving the parts, with the immediate purpose of giving better expression to the whole, of practising and perfecting the execution of the dead elements of elocution, in the life-giving light of inspiring ideas.

"There is in souls a sympathy with sounds."

This analogy in Nature between tones and sentiments is the central source from which the author has drawn the simple principles and hints which are given to aid teachers in their laudable efforts to cultivate in the school-room, and thus everywhere, a more natural and expressive elocution.

The art, embracing the expression of the whole range of human thoughts and feelings, from the earliest lispings of the child to the most impassioned and finished utterance of a Garrick or Siddons, covers too wide a field, and reaches too high a point in human culture, it is evident, to be all compressed into these few introductory pages; nor would the highest refinements of the art be practicable in the school-room if they could be here given. Yet, such initial steps have been taken, and clearly marked out in the right direction toward the highest art, it is hoped, as will tempt many to go on further in this interesting study of nature and art, till they see for themselves to what "rich ends" our "most poor matters point."

PART I.

ELOCUTION is the VOCAL EXPRESSION of IDEAS with the speaking tones, as distinguished, from the singing.

GOOD ELOCUTION, in reading or speaking, is the expression of ideas with their appropriate or natural speaking tones of the voice.

But how can we, intelligently, even attempt to give correct vocal expression to what is not first CLEARLY UNDERSTOOD and APPRECIATED?

Hence arises at the very outset, as a prerequisite to any possible excellence in elocution, the necessity of a THOROUGH ANALYSIS and STUDY of the ideas or the thoughts and feelings to be read.

Let, then, each lesson in reading begin with this preparatory work of "Logical Analysis."

METHOD OF ANALYSIS.

In any other art, if we wish to conceive and express things clearly, we inquire, first, for the GENUS, or the GENERAL KIND; secondly, for the SPECIES, or the INDIVIDUALS, under that kind. If, for example, we were asked to paint a group of animals or flowers,

[ocr errors]

1. We should ascertain what kind of animals or flowers is meant, the horse, or the lion; the rose, or the lily.

3.

2. We should determine the peculiarities of the individuals. We should feel obliged to learn something of the general colors we are to paint with, their various shades, and how to blend these into expressive lights and shades. Then only should we feel prepared to take the first step successfully in the art of painting.

b

Let us, in the kindred art of elocution, adopt the same natural method and order of inquiry.

Let us determine,

1.

2.

3.

The general spirit or kind of the piece to be read.
The important individual ideas.

The relative importance of the ideas.

1. We must determine the kind or general spirit, that we may know what general or standard force, and time, &c., of voice we should read with. There must be some standard to guide us, or we cannot tell how much emphasis to give to any idea. "Read the emphatic words louder," says the teacher. Louder than what? "Louder than the unemphatic words." But how loud are they, the unemphatic words? This question must be answered first, or we have no standard to go by; and the answer to this question is determined always by the general spirit of the piece. If that is unemotional, the standard force required is moderate; if bold, the standard force is bold, or loud; if subdued or pathetic, the standard force is subdued, or soft.

2. We must determine the important individual ideas, that we may know what words need extra force or emphasis.

3. We must determine the relative importance of these ideas, that we may know how much emphatic force we must give to each respectively, so as to bring out in our reading, clearly, the exact and full meaning of the author.

But it may be objected that this method of catching the spirit of the author, first, is too difficult for the school-room, because there are so many emotions not easily distinguished or remembered. Yet, since this natural order of inquiry, if it can be made practicable, will make all our after progress so much more intelligent and rapid, and since the chief charm of all the best pieces for expressive reading, lies in the emotional part, let us see if we cannot sufficiently simplify these difficulties, by grouping nearly all the emotions into a few representative

classes, which will be definite enough for all ordinary purposes in teaching elocution, and which can be easily recognized by any one who can distinguish joy from sorrow, or a mere matter-of-fact idea from impassioned sentiment.

As appropriate answers to our first question in analysis, let pupils become familiar with some such simple and comprehensive classes as the following:

1.

DIFFERENT KINDS OR CLASSES OF EMOTIONS.

'Unemotional,' or matter-of-fact, (whether didactic, narrative, or descriptive).

2. 'Bold,' (including the very emphatic passages in the first class, and all declamatory pieces).

3. • Animated or joyous,' (including all lively, happy, or beautiful ideas).

[ocr errors]

4. Subdued or pathetic,' (including all gentle, tender, or sad ideas).

5. 6

Noble,' (including all ideas that are great, grand, sublime, or heroic).

6. 6

Grave,' (including the deep feelings of solemnity, reverence, &c.).

7. 'Ludicrous or sarcastic,' (including jest, raillery, ridicule, mockery, irony, scorn, or contempt).

8. 'Impassioned,' (including all very bold pieces and such violent passions as anger, defiance, revenge, &c.).

When selections are of a mixed character,

[ocr errors]

some passages ' matter-of-fact,' some bold,' some noble,' &c.,the first question must be asked as often as there is a marked change.

Having clearly analyzed any given example, we are ready intelligently to ask and answer the first elocutionary question, viz., How can we read the same so as to express with the voice the general spirit' and the individual ideas' with the relative importance' of each ? This brings us to the subject of,

[ocr errors]

VOCAL EXPRESSION.

Before analyzing the elements of vocal expression, let pupils be made to understand, as clearly as possible, this broad, general principle, viz., that EXPRESSION in Nature or Art depends on some kinds of lights and shades, as of color, or form, or sound.

Let them see that the clean white wall or the blackboard, has no expression, just because it has but one shade of one color, while the painted map on the wall expresses something, because it has different shades of various colors.

They will then the more clearly understand that the true expression of thoughts and feelings in reading depends on using the right lights and shades of the voice. That a monotonous tone gives no more expression to the ear than the one monotonous color does to the eye.

All our lights and shades of expression in elocution are to be made out of the following:

1. "

ELEMENTS OF VOCAL EXPRESSION.

Force,' with all its natural variety, from moderate to louder or softer.

[ocr errors]

2. Time,' with its changes from moderate to faster or slower movement, also with its longer or shorter quantity and pauses. 3. 'Slides,' 'rising' and 'falling,' and 'circumflex,' and all these as moderate, or longer or shorter.

[ocr errors]
[ocr errors]

4. Pitch,' with its variety of key-note,' 'compass,' and 'melody.'

5. 'Volume,' with more or less 'fulness' of tone.

[ocr errors]

6. 'Stress,' or the different kinds of force, as abrupt,' or 'smooth,' or as given to different parts of a syllable.

[ocr errors]

7. "Quality,' as 'pure' and resonant, or impure' and aspirated.

Let us now study and practice the principles for the right use of each one of these elements of vocal expression, in Part II.

« 上一頁繼續 »