The rhetorical reader; consisting of instructions for regulating the voice ...

Front matter

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THE

RHETORICAL READER;

Preface

Though for many years after I began to investigate the principles of rhetorical delivery, I had no intention of writing any thing on the subject for publication, I was at last drawn into this measure, gradually and almost unavoidably. The bad habits in elocution, acquired by many educated young men, and confirmed, with little regard to consequences, as they passed from one stage of education to another, it was easy to see must become at once equally conspicuous and injurious, so soon as they should pass from academical life o a public profession in which good speaking is a prime ine lument of usefulness. The last Seminary too which had nem in charge, would, by a misapprehension not very unnatural, be made responsible, not merely for its own proportion, but for the whole of these defects. The only remedy for habits thus firmly established, obviously must lie in a patient, elementary process, adapted to form new habits. After a sufficient experiment to satisfy me that Walker's elements, as a text book, could not answer this purpose, I prepared a course of Lectures on the subject. One of these, " on Vocal Inflections," I consented to print, at the request and for the use of the Theological Students, to whom it had been read ; but without any intention that it should be published. The pamphlet, however, went abroad, and led to applications from respectable gentlemen, connected with colleges and other literary institutions, that I would prepare a book of the same description, to be used in this department of a liberal education. Accordingly I did prepare the " Analysis of Rhetorical Delivery."

The preparation of that work, my own use of it as a Teacher, and the testimony of others, who had used it, con-

IV PREFACE.

vinced me, soon after its publication, that the chief principles it contains may be understood and applied by pupils much younger than those I had originally contemplated. Teachers of Academies and High Schools, who professed to have derived much assistance from the Analysis, urged me to prepare a cheaper book, on the same plan, adapted to the use of their pupils. This I promised to do, should health and engagements permit; but the execution has been delayed, as involving a sacrifice of the time which I earnestly wished to devote to the more appropriate and sacred duties of my office; and had not one branch of these duties rendered me necessarily familiar with the general subject of this volume, the purpose must have been relinquished.

I have been the more cheerful, however, in this undertaking, from a full conviction that whatever is accomplished on this subject in classical schools, is a clear gain to professional education for the pulpit. To no possible case, more than to this, is the maxim applicable, " Prevention is easier than cure." Faults which almost defy correction, might easily have been avoided by skill and pains in forming the early habits.

I am aware that there is already an ample supply of books, which furnish excellent reading lessons, without professing to give any instruction in the art of reading. But the want of an elementary book, for common use, in which the principles of this art should be laid down, with Rhetorical Exercises, selected expressly to illustrate these principles, has been extensively felt as a great deficiency. The Rhetoric al Reader is intended to supply this deficiency. The first third of its matter, is an abridgement of the Analysis, though with new discussion and elucidation of some important principles, which will be found chiefly under the articles, Reading, — Emphatic Inflection, — Quantity, — and Compass of Voice. In respect to about two thirds of its contents, the book is new; including the original matter just mentioned, and a

PREFACE. V

new selection of exercises for Part II. This selection has been made with much care and from an extensive range of writers, British and American. In making it, regard has been paid, first to the moral sentiment of the pieces, as suited to make a safe and useful impression on the young ; next to that rhetorical execution which may elevate their taste; and finally, to such variety and vivacity, in the subjects and kinds of composition, as may sustain an undiminished interest throughout.

To attain brevity in each Exercise, the connexion of the writer has sometimes been broken by omissions longer or shorter, without notice; the mention of which fact in this manner, I hope may be sufficient, without further apology.

A word of explanation is necessary on another point. It was my intention to include in the Exercises, Part II. a greater proportion of extracts from the Bible, than I have done in Part I. ; both because I think it furnishes many of the best lessons for rhetorical reading ; and because the book which, more than all others, is adapted to promote the sanctification and salvation of the young, has been too much neglected in all departments of education. But as I wished to make this selection, not for the young merely, but also with a special view to those who are called to read the Bible as heads of families, or still more publicly, as preachers of the gospel, sufficient room for it could not be found in the present volume. I therefore concluded to defer this part of my plan, with the hope that I may compile a separate collection of Biblical Exercises, of perhaps 150 pages, to which a rhetorical notation will be applied, and which may be a proper sequel both to the Analysis, and Rhetorical Reader.

Should this little book be found useful in advancing the interests of Christian Education, the best wishes of its author

will be answered.

E. PORTER.

Theological Seminary, Andover, May 1831.

REMARKS TO TEACHERS.

To those who may use this book, I have thought it proper to make the following preparatory suggestions.

1. In a large number of those who are to be taught reading and speaking, the first difficulty to be encountered arises from bad habits previously contracted. The most ready way to overcome these, is to go directly into the analysis of vocal sounds, as they occur in conversation. But to change a settled habit, even in trifles, often requires perseverance for a long time ; of course it is not the work of a moment, to transform a heavy, uniform movement of voice, into one that is easy, discriminating, and forcible. This is to be accomplished, not by a few irresolute, partial attempts, but by a steadiness of purpose, and of effort, corresponding with the importance of the end to be achieved. Nor should it seem strange if, in this process of transformation, the subject of it should at first, appear somewhat artificial and constrained in manner. More or less of this inconvenience is unavoidable, in all important changes of habit. The young pupil in chirography never can become an elegant penman, till his bad habit of holding the pen is broken up ; though for a time the change may have made him write worse than before. In respect to Elocution, as well as every other art, the case may be in some measure similar. But let the new manner become so familiar, as to have in its favor the advantages of habit, and the difficulty ceases.

%, The pupil should learn the distinction of inflections, by reading the familiar examples under one rule, occasionally turning to the Exercises, when more examples are necessary; and the Teacher's voice should set him right whenever he makes a mistake. In the same manner, he should go through all the rules successively. If he acquires the habil of giving too great or too little extent to his slides of voice, he should be carefully corrected, according to the suggestions given, p. 27 and 110. — After getting the command of the voice, the great point to be steadily kept in view, is to apply the principles of emphasis and inflection, just as nature

DIRECTIONS TO TEACHERS. VII

and sentiment demand. In respect to those principles of modulation, in which the power of the voice so essentially consists, we should always remember too, that, as no theory of the passions can teach one to be pathetic, so no description that can be given of the inflection, emphasis, and tones, which accompany emotion, can impart this emotion, or be a substitute for it. No adequate description indeed can be given of the nameless and ever varying shades of expression, which real pathos gives to the voice. Precepts here are only subsidiary helps to genius and sensibility.

3. Before any example or exercise is read to the Teacher, it should be studied by the pupil. At the time of reading, he should generally go through, without interruption; and then the teacher should explain any fault, and correct it by the example of his own voice, requiring the parts to be repeated. It would be useful often to inquire ivhy such a modification of voice occurs, in such a place, and how a change of structure would vary the inflection, stress, Sec. ; in other words to accustom the pupil to paraphrase the meaning conveyed by different expressions of voice; as in the example p. 32 at the close of Rule IV. and p. 43, bottom. When the examples are short, as in all the former part of the work, reference may easily be made to any sentence; and in the long examples, the lines are numbered, on the left hand of the page, to facilitate the reference, after a passage has been read. If an Exercise is read by a class in turn, it would be useful, at least occasionally, to call on two or more of the number to remark on the manner of the reader, proposing corrections, with reasons, before the remarks of the teacher are made. This will render them vigilant and intelligent, in the constant, practical application of theoretic principles; thus leading them to regard a proper management of voice as both an art and a science.

4. When any portion of the Exercises is about to be committed to memory for declamation, the pupil should first study the sentiment carefully, entering as far as possible, into the spirit of the author; then transcribe it in a fair hand; then mark with pencil, the inflections, emphasis, &c. required on different words; — then read it rhetoric ally to his Teacher, changing his pencil marks as the case may require; and then commit it to memory perfectly, before it is spoken; as any labor of recollection is certainly fatal to freedom, and variety, and force in speaking. In general it were well that the same piece should be subsequently once or more repeated, with a

VIII

DIRECTIONS TO TEACHERS.

view to adopt the suggestions of the Instructer. For the purpose of improvement in elocution, a piece of four or five minutes, is better than one of fifteen; and more advance may be made, in managing the voice and countenance, by speaking several times, a short speech, though an old one, (if it is done with due care each time to correct what was amiss,) than in speaking many long pieces, however spirited or new, which are but half committed, and in the delivery of which all scope of feeling and adaptation of manner, are frustrated by labor of memory. The attempt to speak with this indolent, halting preparation, is in all respects worse than nothing.

>C<:<;<:<:<::<::<::^ KEY OF RHETORICAL NOTATION.

Key of Inflection.

— denotes monotone. ' rising inflection.

falling inflection.

circumflex.

Key of Modulation. (°) high. (°°) high and loud.

o) low. X

)C ) low and loud. S

••) slow. y'

==) quick. 9

— ) plaintive. $

|| ) rhetorical pause, h

< ) increase. J

Causes of defective articulation .... 22

Difficulty of many consonant sounds ... 23

Immediate succession of similar sounds . 24

Influence of accent 25

Tendency to slide over unaccented vowels . . 25

Cautions 26

CHAP. III. Inflections . 27 Description of Inflections 27

Classification of Inflections ..... 28

Rule I. Influence of disjunctive or on Inflection . , 29

Rule II. Of the Direct Question and its Answer . . 29

Rule III. Of Negation opposed to Affirmation . . 30

Rule IV. Rising Inflection. — Of the Pause of Suspension . 31

Rule V. Of the influence of Tender Emotion on the voice . 32

Rule VI. Of the Penultimate Pause ..... 33

Falling Inflection 33

Rule VII. Of the Indirect Question and its Answer . . 33

Rule VIII. The language of Authority. — Of surprise, &c. . 34

Rule. IX. Emphatic succession of particulars ... 35

Rule X. Emphatic Repetition 36

Rule XI. Final Pause . . 36

Rule XII. The Circumflex 37

CHAP. V. Emphasis 39

Sect. 1. Emphatic Stress 39

Absolute emphatic Stress 41

Antithetic or Relative Emphatic Stress . . 42

Sect. 2. Emphatic Inflection 43

Emphatic Clause 45

Double Emphasis 46

CHAP. VI. Modulation 47

Sect. 1. Faults of Modulation 47

Monotony 47

Mechanical Variety 48

Sect. 2. Remedies 48

The spirit of Emphasis to be cultivated . . 48

A habit of discrimination as to Tones and Inflection 51

Sect. 3. Pitch of voice 51

Sect. 4. Quantity . . 52

Rotundity and Fulness 52

Time . 54

Strength of voice depends on good organs of ) r* speech, &c. 5

X CONTENTS.

Page

Directions for preserving and strengthening them 54

Rate of utterance 56

Sect. 5. Compass of Voice 56

Sect. 6. Rhetorical Pause 58

Sect. 7. Transition 60

Sect. 8. Expression 61

Sect. 9. Rhetorical Dialogue 62

Sect. 10. The Reading of Poetry 64

CHAP. VII. Gesture 67 Expression of countenance 67

Attitude 68

Faults of Rhetorical Action . . . . , 68

Gesture may want appropriateness and discrimination 68 May be too constant, or violent, or complex, or uniform 70

Mechanical variety . . . . . . 72

Use of right hand and left 73

EXERCISES,

PART I. Preparatory Remarks 76

EXERCISES ON ARTICULATION.

EXERCISES ON INFLECTION.

Exercise 2. Disjunctive or 78

— 3. Direct Question, &c 79

Conjunctive or 81

■ 4. Negation opposed to affirmation . . . . 81

■ Comparison and contrast 82

■ 5. Pause of Suspension 84

6. Tender Emotion . . . . . . 88

7. Indirect Question, &c. ... 90

8. Language of Authority, Surprise, &c. . . 92

— 9. Emphatic Succession, &c. .... 98

10. Emphatic Repetition 99

EXERCISES ON EMPHASIS.

Exercise 11 — 17. Absolute and Relative stress, and Emphatic > j«.. Inflection ..... )

18. Difference between common and Intensive Inflection 110

EXERCISES ON MODULATION.

Exercise 19. Compass of voice ...... Ill

Transition 116

20. The power of Eloquence 116

21. Hohenlinden . 118

22. Battle of Waterloo 119

23. Negro's Complaint 120

24. Marco Bozzaris 122

25. Extract from Paradise Lost . 123

CONTENTS.

ExPRESSrON

Judah's Speech to Joseph Joseph disclosing himself Death of a friend Burial of Sir John Moore Eve lamenting the loss of Paradise Soliloquy of Hamlet's Uncle Rhetorical Dialogue 32. Examples from the Bible

XI

Page

EXERCISES.

PART I I

33. Character of Columbus

34. The Victim

35. Conflagration at Rome of an

36. The African Chief

37. Riches of a poor Barber

38. Burning of the Fame

39. Hour of Prayer

40. Mv Mother's Grave

41. A Tale of Waterloo

42. The righteous never forsaken

43. To Printers

44. Washington

45. Miserable case of a Weaver

46. Tomb of Washington

47. Destruction of the Temple at

48. The Charnel Ship

49. Life— a Spanish Poem .

50. Death and the Drunkard

51. The Plague in London

52. The Battle of Borodino

53. Shipwreck

54. The Bucket — a Cold water Son

55. Anecdote of Judge Marshal

56. The first and last Ticket

57. Death at the Toilet

58. Sabbath Schools

59. The folly and wickedness of

60. The Warrior

61. Death of Ashmun

62. Love of Applause

63. Christian Integrity

64. Watch

65. New social order in America

66. Voluntary Association .

67. Bible Societies .

68. Christ's entry into Jerusalem

69. Evening Hymn

70. Universal Peace

71. The Elder's Death Bed

Irving.

Philadelphia Casket.

Amphitheatre . Croly.

Bryant.

Edinburgh paper.

JY. Y. Atlas.

Mrs. Hemans.

Anonym.

Anonym.

New-York Spectator.

Fisher Ames.

Pier pout.

BelVs Messenger.

Jerusalem by fire Milhnan. . Charleston Courier. . Edinburgh Review.

Rothelan.

Fredericksburg Arena.

Woodworth.

Winchester Republican.

Manuscript of a Criminal.

From the Diary of a Physician.

Frelinghuysen.

War . . Knox.

Harbinger of Peace.

Mrs. Sigourney.

Hawes.

Howes.

J. Mason Good.

Doug/as.

Douglas.

Douglas.

Cunningham.

Monthly Vis.

Chalmers.

Prof. Wilson.

Xll

CONTENTS.

72. Benevolence of God

73. Death of Princess Charlotte

74. Remarkable preservation from death at Sea

75. The Bible the best Classic

76. Fathers of New England

77. Duty of Literary men to their Country

78. Eulogy on Adams and Jefferson

79. The Greek Revolution .

80. Triumph of the Gospel

81. Duties and Prospects of New England

82. The Sabbath School Teacher

83. Motives of the Gospel .

84. Character of Richard Reynolds

85. Address of the Bible Society— 1816

86. Roman Soldier; — Last days of Herculaneum

87. The Orphan Boy

88. Christian Consolation

89. Cruelty to Animals

90. Christianity

91. Character of Mrs. Graham

92. Living to God .

93. Piea for Africa

94. Abolition of the Slave Trade

95. Eliza

96. Character of Mr. Brougham

97. Character of Mr. Wilberforce

98. Eulogium on Mr. Fox

99. Death of Sheridan

100. The last family of Eastern Greenland

101. The Qity and the Country

102. Summary Punishment

103. On the receipt of his Mother's Picture

104. Extract from " The Grave "

105. Defence of Johnson

106. Taking of Warsaw

107. Lord Chatham

108. Mr. Fox, and Mr. Pitt .

109. Death of Lord Chatham

110. Lord Mansfield .

111. Providential Distinctions

112. Eloquence of Bossuet

113. Eloquence of Bourdaloue

114. Eloquence of Bridaine

115. Eloquence of Whitefield

116. Satan's Lamentation

117. Eloquence of Sheridan .

118. Spirit of the American Revolution

119. America .

120. Patriotism of 1775

121. The discontented Pendulum

122. Valedictory Hymn

123. Scene from Pizarro

125. The Dead Sea

126. New Missionary Hymn Appendix

Chalmers.

Robert Hall.

Prof. Wilson.

Grhnke.

Sprague.

Grimke.

Wirt.

Webster.

Phillip.

Pres. Quincy.

James.

Dwight.

Thorpe.

Mason.

Atherstone.

Mrs. Opie.

Cowper.

Mason.

Mason.

Griffin.

Griffin.

Christian Obs.

Darwin.

Sheridan.

Byron.

Montgomery.

M'Donnough.

Scott.

Coicper.

Montgomery.

Cur ran.

Campbell.

Butler.

Butler.

Percy.

Percy.

Pollok.

Butler.

Butler.

Butler.

Gillies.

Milton.

Quincy, Jr.

Philips.

P. Henry.

Jane Taylor.

N. Adams.

Kotzebue,

Derzhanir.

Croly.

S. F. Smith.

Page

THB

RHETORICAL READER.

Chapter I

READING. ITS CONNEXION WITH GOOD EDUCATION.

The art of reading well is indispensable to one who expects to be a public speaker; because the principles on which it depends are the same as those which belong to rhetorical delivery in general, and because nearly all bad speakers were prepared to be so, by early mismanagement of the voice in reading.

But the subject is one of common interest to all, who aim at a good education. Every intelligent father, who would have his son or daughter qualified to hold a respectable rank in well-bred society, will regard it as among the very first of polite accomplishments, that they should be able to read well. But beyond this, the talent may be applied to many important purposes of business, of rational entertainment, and of religious duty. Of the multitudes who are not called to speak in public, including the whole of one sex, and all but comparatively a few of the other, there is no one to whom the ability to read in a graceful and impressive manner, may not be of great value. In this country, then, where the advantages of education are open to all, and where it is a primary object with parents of all classes, to have their children well instructed, it would seem reasonable to presume that nearly all our youth, of both sexes, must be good readers. Yet the number who can properly be so called, is comparatively small. No defect of vocal organs, nor of intelligence and sensibility, which may be supposed to exist among the pupils of our schools, is sufficient to account for the wretched habits of reading, which are so prevalent. The fact must be ascribed to causes more unquestionable and radical in their operation; and these causes, in my opinion, are to be found chiefly, in the inadequate views of the subject, entertained by those to whom the interests of early education are committed.

Notwithstanding the manifest advances in public sentiment respecting this matter, which we have witnessed within a few years, there are still many Teachers, and publishers of reading lessons, who maintain that no precepts as to management of voice can be useful to the young; but that every thing of this sort tends to embarrass rather than aid the attainment of a good elocution. But if it is enough to put a book into the hands of a pupil, and require him to read, without giving him any instructions how to read, then I ask, among the past generations, who have been treated just in this manner, why have not all, or nearly all, become good readers ? Teachers have been sufficiently sparing of rules; and if a boy was only careful to speak his words distinctly and fluently, and " mind the stops," nothing more was required. Elementary books too have been, till of late, nearly silent as to precepts for regulating the manner in reading. Some of these did formerly give the three following directions; — that the parenthesis requires a quick and weak pronunciation; — that the voice should be raised at the end of a question; — and dropped into a cadence, at the end of all other sentences. The first direction, as to the parenthesis, is proper in all cases. The second is proper in all questions answered by yes or no, and improper in all others. Hence the teacher found the instincts of every child to rebel against the rule, in reading such questions as, — " Who art thou? " " Where is boasting then? "—and just so, as to the last rule, respecting cadence, when a sentence ends with an antithetic, negative clause; as, " You were paid to fight against Alexander, not to rail at him."

But because very defective precepts are useless or pernicious, does it follow that this interesting subject must be left to accident; so that if any one becomes a good reader, it shall be only because it happens to be so? Then it will doubtless happen, in time to come, as it has in time past, that the number of good readers will be few, very few.

In answer to this question, some who discard all theory in elocution*" would probably say, — we would by no means leave the learner to chance; we would have him imitate his Teacher, who should be qualified to correct his faults of manner, by exemplifying himself what is right, and what is wrong, in any given case. Doubtless the Teacher should watch every opportunity to aid his pupil in this manner. But when he reads a sentence well, as an example to his pupil, is this done by accident? Is there no reason why his emphasis is laid on one word rather than another? — why it is strong or weak? why his pauses are long or short? — why he makes a difference between a parenthetic clause and another? — why his voice turns upward on one word, and downward on another ? — why he ends a sentence with a small cadence, or a great one, or with no cadence, as cases vary? Is all this mere chance? If so, the pupil may as well be left to chance without, as with a Teacher. If not; — if the Teacher has a reason why he reads so, and not otherwise, cannot he tell that reason? This is what common sense requires of him, to teach by precept and example both. Besides; — what if that Teacher reads badly, himself; just because they who were his patterns, during the formation of his early habits, were bad readers? Must we go on still at the same rate, and insist on it that the proper remedy for bad reading, is the imitation of bad examples? Then we have no remedy. But common sense,

I say again, would combine practice with theory; so that the Teacher, knowing the conformity between thought and vocal language, may not only express this conformity by his own voice, but explain it to his pupils.

There are others, who would discard any systematic instruction on this subject, and yet allow that one important direction ought to be given and incessantly repeated, namely, be natural. But what is it to be natural? The pupil will understand, probably, that he is to read in the manner that is most easy to himself, or that gives him the least trouble; that is, the manner to which he is accustomed. Bad as that manner may be, the direction has no tendency to mend it; because he supposes that any new manner would be unnatural to him. But you correct him again, and tell him to be natural. The direction is just, is simple, is easily repeated; but the infelicity is, that it has been repeated a thousand times, without any practical advantage. You then become more particular, and tell him that, to be natural he must enter into the spirit of what he utters, and read it so as feeling requires. He tries again, and fails, because he attempts to do what feeling requires, without feeling; and because he has no conception what it is in his voice that is wrong. You tell him perhaps, that he must drop his reading tone, and be natural; but he understands nothing what jou mean; and while his manner becomes more rapid or more loud, for this admonition, he goes on with his tone still. He is under the influence of an inveterate habit, which he acquired from being early accustomed to read that which he did not understand, and in which he felt no interest.

To break up unseemly tones, thus deeply fixed by habit, every teacher of reading or speaking finds to be the first and hardest task in his employment. In general, the longer these habits have been cherished, the more stubborn they become; and measures that might be sufficient to prevent them, are by no means sufficient for their cure To do what is right, with unperverted faculties, is ten times easier than to undo what is wrong. How often do we see men of fine understanding and delicate sensibility, who utter their thoughts in conversation, with all the varied intonations which sentiment requires; but the moment they come to read or speak in a formal manner, adopt a set of artificial tones utterly repugnant to the spirit of a just elocution. Shall we say that such men do not understand what they speak in public, as well as what they speak in conversation? Plainly the difference arises from a perverse habit, \\ hich prevails over them in one case, and not in the other. Many instances of this sort I have known, where a man has been fully sensible of something very wrong in his tones, but has not been able to see exactly what the fault is; and after a few indefinite and unsuccessful efforts at amendment, has quietly concluded to go on in the old way. So he must conclude, so long as good sense and emotion are not an equal match for bad habits, without a knowledge of those elementary principles, by which the needed remedy is to be applied. These habits he acquired in childhood, just as he learned to speak at all, or to speak English rather than French, — by imitation. His tones both of passion and of articulation, are derived from an instinctive correspondence between the ear and voice. If he had been born deaf, he would have possessed neither. Now in what way shall he break up his bad habits, without so much attention to the analysis of speaking sounds, that he can in some good degree distinguish those which differ, and imitate those which he would wish to adopt or avoid ? How shall he correct a tone, while he cannot understand why it needs correction, because he chooses to remain ignorant of the only language in which the fault can possibly be described? Let him study and accustom himself to apply a few elementary principles, and then he may at least be able to un-

2# derstand what are the defects of his intonations. I do not say that this attainment may be made with equal facility, or to an equal extent, by all men. But to an important extent it may be made by every one; and that with a moderate share of the effort demanded by most other valuable acquisitions; I might say with one half the time and attention that are requisite to attain skill in music.

Should some still doubt whether any theory of vocal inflections can be adopted, which shall not be perplexing and on the whole injurious, especially to the young, I answer that the same doubt may as well be extended to every department of practical knowledge. To think of the rules of syntax, every sentence we speak, or of the rules of orthography and style, every time we take up our pen to write, would indeed be perplexing. The remedy prescribed by common sense in all such cases, is, not to discard correct theories, but to make them so familiar as to govern our practice spontaneously, and without reflection.

The benefit of analysis and precept is, to aid the teacher in making the pupil conscious of his own faults, as a prerequisite to their correction. The object is to unfetter the soul, and set it free to act. In doing this a notation for the eye, designed to regulate the voice in a few obvious particulars, may be of much advantage: otherwise why shall we not dismiss punctuation too from books, and depend wholly on the teacher for pauses, as well as tones ?