How to recite : a school speaker

Front matter

LtBRARY OF CONGRESS.

Chap, Copyright No, _.

SheltTiA£0\

Preface

This collection includes representative selections from the best literature, arranged and condensed for effective use in school declamation.

Part First gives a sufficient outline of the technique to guide the student, but presupposes some knowledge and training on the part of the teacher. 1

Part Second consists entirely of selections, arranged as closely as practicable on a historical plan, but interspersed with examples of colloquial and humorous styles, the study of which will help to counteract the tendency toward a stilted and declamatory manner.

The criticism has been justly made that the so-called old elocution did not take sufficient account of fundamental psychological processes. On the other hand, certain recent methods erred quite as greatly in ignoring the technique of voice and action. If the old school often fostered a mechanical and "elocutionary" delivery, the tendency to rely exclusively on thought and impulse has resulted quite as often in either cold self-conscious intellectualism, or impassioned rant, according to the idiosyncrasy of teacher or pupil. A truly philosophical method will be coordinative from the outset, and a considerable

1 The author's primer of Elocution and Action [New York : Edgar S. Werner] is recommended as a supplementary text-book for students who wish a more complete knowledge of the subject, as well as for teachers who are unfamiliar with the technical problems of the art. An advanced treatise is in preparation.

4 PREFACE

experience with professional students, representing both new and old methods, has convinced me that some such combination of psychic and physical training as is illustrated herein is the only one which can produce satisfactory results.

The order of study is that which I have used with success. It will be noticed that each step is exemplified by a number of selections. While it may be necessary to anticipate occasionally, the best plan is to dwell upon each step until it is mastered. For instance, in the study of phrasing, while the teacher might correct some obvious fault of emphasis, the pupil's attention should not be distracted from phrase grouping and pause. The teacher should note, however, that though the imaginative and emotional processes are more fully considered in later chapters, they are touched upon in the introductory chapter, and that expression presupposes from the outset the fullest possible coordination of all the psychic processes.

Rightly studied, as the art of interpretation, elocution is a key to the spiritual meaning of all great literature. No man was ever yet truly eloquent in an ignoble cause, and no boy or girl can live in communion with eloquence without being helped to a nobler ideal of personal conduct.

Acknowledgment is due to Messrs. Harper & Brothers and the Century Company for permission to use copyrighted selections. I wish especially to thank Messrs. Houghton, Mifflin, & Company for permission to use the copyrighted selections from the works of Bryant, Hay, Higginson, Holmes, and Whipple, of which they are the authorized publishers.

F. TOWNSEND SOUTHWICK.

The New York School of Expression, 318 W. 57th Street.

Contents

PAET I

CHAPTER

I. Introduction ....

Chapter I Introductory

The art of reading consists in speaking the words of another so as to bring out their full meaning. But words are not important in themselves ; they are only the signs of things, of ideas about things, or of feelings awakened by these. That is, we usually speak, not to utter sounds merely, but to tell others what we think or feel, or to describe what we have seen or heard.

Literature is the effort of man to express himself by written language, and to read literature aloud requires not merely command of the voice, but complete understanding of and sympathy with the thoughts and emotions of the author.

When the poet writes : —

I would not enter on my list of friends

(Though graced with polished manners and fine sense,

Yet wanting sensibility) the man

Who needlessly sets foot upon a worm.

— Cowper, The Task.

it is not merely for the amusement of composing verse, but because he hates cruelty and wishes to express his sentiments in language that shall not only be adequate to his meaning, but which, being cast in poetic form, will be more likely to be read and remembered than if it were in prose. So, the reader of these lines must regard his art, not as a mere means of playing with sounds and emotions, but of teaching the lesson of kindness. To say with real expression: —

He prayeth best who loveth best All things, both great and small, For the dear God who loveth us, He made and loveth all.

— Coleridge, Ancient Mariner.

the speaker must believe what he says.

Not only must one believe, but he must wish to make others believe, and. try to read so that they shall agree with him.

He will do this most effectively if he reads or speaks so well that his auditors forget that he is reading at all, and almost imagine that he is speaking his own words. The highest compliment that can be paid to a reader or reciter is not : "How well you recited that poem ! " but "What a beautiful poem you recited ! " or " I never appreciated that poem until you interpreted it for me ! "

That is the ideal toward which our studies should tend, and it is as important for the student of oratory as for the elocutionist. . So long as the audience are occupied with the gestures or even the language of the orator, he has failed. It is only when they become so interested in the matter that they forget the manner that he can be said to succeed. But this does not mean that manner should be neglected, for he who has a bad manner will find not only that it distracts the attention of his audience, but that the consciousness of awkwardness or inefficiency is a constant source of embarrassment to himself.

Words are not only signs of ideas ; they picture or suggest pictures.

The Avords " a mad dog," for instance, call up at once in our minds, not the forms of the letters composing the words, or the mere sounds the letters make, but a mental

INTRODUCTORY 9

"image" or "picture." Some of us who have vivid imaginations could, perhaps, see a very clear picture, with many accessories, such as people running away from the dog, the street or road where the beast is, even the size, color, and other peculiarities of the animal, the foam which flecks his snapping jaws, and the glare of his eyes as he rushes toward us. Perhaps some think they hear the cries of the frightened people or the fierce growls of the creature. This action of the mind in picturing is called imagination. But the thought or vivid image of a mad dog will probably call up something like the unpleasant feelings we should have if we really saw one, just as the thought of a long vacation causes pleasure. These and like feelings we know as emotions and sensations.

Thought, imagination, and feeling are the inner, or mental processes, which find expression in voice and action.

If we would express naturally, we must think and feel naturally.

Rules will help us, but they cannot supply the place of mental action.

In order to express our thoughts as we would wish, both voice and body must be trained to respond to the mind. Ease of manner is attained by command of the body and of the voice.

Our first exercises must necessarily be somewhat mechanical and less interesting than those that follow later, but in no art or accomplishment can skill be obtained without drudgery. Neglect of fundamentals is the cause of half the failures in life.

In this book we have no space for explaining the reasons for all our exercises, but the student may be sure that they have been tested by practical experience, and that, if faithfully practiced, they will lead to success.

Chapter II Attitudes Of The Body

"ATTENTION" OR " RESPECT :

EXERCISE I

Bring the heels together and stand perfectly straight, as a soldier would, with arms at the sides, weight not on the heels, but on the middle of the foot, " eyes front." Avoid stiffness, but try to feel as tall as possible.

(1) Inhale through the nostrils slowly, rilling the lungs from the waist to the top of the chest, but without lifting the shoulders. (2) Hold the breath. (3) Slowly exhale. Imagine you inhale the perfume of a rose. Be careful not to protrude the stomach when breathing, but rather to draw it in.

EXERCISE III

Breathing in the same way, (1) rise slowly but gently, as if trying to reach the ceiling with your head, until the heels are as high off the floor as possible without loss of balance. (2) Keep this position and hold the breath. Imagine that the breath in your lungs holds you up as

ATTITUDES OF THE BODY H

the hydrogen would raise a balloon. (3) As you exhale, come back to the original position.

The Attitude of Attention or Respect is preliminary to the bow. In practising for public appearance, it is well to walk forward a few steps, as you would on the platform, then bring the heels together as you face your audience.

EXERCISE IV

BOWING

Standing as before, bend the head slowly, glancing from one to another of an imaginary audience as you do so. Do not drop the eyes to the floor. The trunk or torso should have a slight sympathetic inclination. The orator's manner should always be dignified. On the platform he first bows to the presiding officer, then to the audience. If the auditorium is of considerable size, or if he is received with especial applause, he may find it necessary to bow several times, to the right, left, balconies, etc., but without good reason he would do better to confine himself to a single simple acknowledgment.

When a lady bows, one foot is retired with the knee bent, and the body sinks back upon it, then returns to the erect position. This action should not be overdone. The elaborate courtesy is out of place on the platform.

EXERCISE V

FOR FLEXIBILITY AND EASE OF THE BODY

(1) Slowly bend the body forward as far as possible, the arms hanging loosely at the sides. Be sure that the movement is a blend of first head, then torso, and that the torso bends in a curve, not as if the body were hinged or jointed at the waist and neck and rigid elsewhere. (2) Let the body remain in this position until

every joint and muscle of the torso, neck, and arms is perfectly free and hangs by its own weight. (3) Return slowly to an erect position. Repeat several times, or go on to (1) Bend backward in the same way. (5) Return. (6) Bend to the right side. (7) Return. (8) Bend to the left. (9) Return. (10) Circle the torso, i.e. bend forward, and then carry the torso successively to the right, back, left, front, etc., in a circle, letting the arms go as gravitation compels them. (11) Return to the erect position, and finally (12) Bow as described above. 1

EXERCISE VI

FLEXIBILITY OF THE NECK

Holding the torso erect, bow and circle the head alone in the same way. Later, combine intonation with this exercise to insure freedom of the larynx in speaking, as directed in Chapter VII.

1 In the above exercise the hip will naturally sway in the opposite direction from the chest in order to maintain the balance. Do not try to prevent this. If dizziness results, practice more gently and for a shorter time.

ATTITUDES OF THE BODY

EXERCISE VII

THE SPEAKER'S POSITION

Having finished your bow, carry the weight of the body to ONE foot only by swaying the hip out at the side, until the median line of the body is over the middle of the foot. This foot is called the strong foot, as it supports the body. When this position is taken with perfect ease, the body is no longer stiffly erect, but has a graceful and flexible appearance. The shoulders oppose, as we say, the hip, being inclined slightly toward the weak or free side of the body, while the head again inclines slightly toward the strong side. The free foot, that is, the one which does not support the weight, should be carried outward a little, either laterally or obliquely. Be sure that it rests only on the inner edge and that the free knee is perfectly relaxed. It makes no difference whether you stand on the right or left foot.

With the free foot about opposite the strong foot, the position is normal or neutral. With the strong footretired, the free foot obliquely in front, the position is expressive of concentration, command, or repose. With the strong foot advanced, free foot obliquely retired, the attitude expresses animation, attraction.

In addressing an audience we usually reserve the last position for moments when we are especially desirous of winning their sympathy.

Avoid unnecessary movements of the body.

We shift the weight from one foot to another only when there is a reason for it. When a new paragraph is begun or when there is a decided transition of thought, it is well to emphasize the fact by a considerable pause and by a change of the weight from one foot to another. The following exercises will aid in gaining grace and ease in attitude.

EXERCISE VIII

TESTS OF POISE

Standing as above, (1) tap the floor with the free foot, in front, behind, at the side, and across the body, and notice whether this disturbs the poise of the body. (2) Place the free foot at the back of and around the strong ankle, without disturbing the poise. (3) With the free foot around the ankle, throw the arms about freely, or (4) Rise on one foot without change of poise.

Be sure that, in all these exercises, the body does not stiffen.

EXERCISE IX

SWAYING THE HIP

Placing the hands on the hips, sway the hip out over the strong side as far as possible. Then sway to the opposite side until the hip is as far as possible over the foot. Let

ATTITUDES OF THE BODY the shoulders move as little as possible. Do this in all directions, laterally and obliquely.

EXERCISE X

TRANSITION OF POISE

Change the weight from one foot to the other by gently swaying the hip. Imagine that you address various persons in different parts of the room. For example, standing on the right foot : —

(1) Look toward some one or something obliquely at your left, (2) transfer the weight to the left foot, that is, the foot that is nearest the object of your attention, (3) occasionally raise the arm in the following order, upper arm, forearm, hand, as if to shake hands with the person you address. (4) Slowly relaxing the arm, turn in the opposite direction, and repeat the exercise. Be careful not to shuffle the feet. Practice turning in all possible directions, advancing the foot, retiring, turning halfway around, etc., but always noticing that the free foot points in the new direction before you change the weight. This does away with the very ungraceful screwing about of the foot after the weight of the body is on it.

EXERCISE XI

Keeping the body erect (with the heels together at the start), (1) advance the free foot as far as possible with the knee bent. (2) Transfer the weight. (3) Spring back to the opposite position, but on the same foot. (4) Spring forward. Practice in all directions. The arms may be as in the diagram, or in any other strong attitude.

Chapter III

The simplest forms of expression are those which for convenience we designate as Logical ; that is, dealing chiefly with thoughts, or statements of facts, and the relations of one idea or fact to another.

The simplest of the logical forms is called the Didactic style of speaking, because it aims to instruct, to give information, rather than to amuse us or excite our sympathies. The manner which we habitually use in ordinary intercourse is called the Conversational style of address. It is not so precise and exact as the didactic. The most familiar form of conversation is the Colloquial. Such expressions as don't for do not, we'll for we will, and familiar forms of address, like hello, old fellow ! are examples of colloquial diction. So, the delivery of colloquial language should be more careless and familiar than that of the other forms of logical expression.

But, curiously enough, though we all speak colloquially, few of us can read with even a fair imitation of the conversational manner. It is enough, at first, if we succeed in reproducing the didactic style.

In the following illustration, Webster, one of the greatest of orators, endeavors to impress upon us the necessity for cultivating those powers which are the basis of all true oratorical success.

When public bodies are to be addressed on momentous occasions, when great interests are at stake, and strong passions excited, nothing is valuable in speech, further than it is connected with high intellectual and moral endowments. Clearness, force, and earnestness are the qualities which produce conviction.

How shall we read this so as to make it impressive ?

First of all, by thinking Webster 's thoughts over again, — ■ not merely thinking about them, but convincing ourselves of their truth ; and, second, by endeavoring to impress those thoughts upon our auditors so that they shall be convinced. It is hardly necessary to say that in order to do this, one must thoroughly understand the meaning of the author he would interpret. To express naturally we must concentrate on one thought at a time. A group of words that expresses a single thought or feeling, describes a single event, or pictures one scene for us, is called a phrase.

The greatest essential in phrasing, and the one most neglected by readers and speakers, is pause.

In the above example we must wait for each thought to make its impression upon the auditor before we speak the next. We pause in speaking our own thoughts because we must, in order to arrange our words ; but in reading aloud, and especially in reciting what has become familiar to us by frequent repetition, there is great danger of neglecting this, and forgetting that what is old to us, is new, or supposed to be new, to the audience.

The best rule to follow is to pause for every thought.

In the pause try to think the new thought, see the new picture, or feel the new emotion as if it had never been thought, seen, or felt before in your life.

Phrases are sometimes marked by a slur ^ over each group, sometimes by one or more vertical lines I, II, III, between the phrases, according to the length of the intervening pause. Where the slur is used, we indicate a very slight pause thus ^-, showing that though there is a momentary cessation of sound, the thoughts are too closely connected to admit of a distinct separation.

In reading aloud, consider each phrase as a temporary compound word, with the accent falling on the most important word. Speak the unimportant words clearly, but not overcarefully ; that is, just as you would speak the unaccented syllables of any word which you wish your hearer to understand fully, but not as if each word or syllable were as important as the others. Treat the different phrases in the same way, speaking the most important ones more slowly and impressively than the rest, and passing lightly over those which you regard as of little comparative consequence. The more earnest the speaker, the more frequent the pauses. In reading poetry, especially where rhyme and meter are prominent, it is of the greatest importance to phrase carefully. The unpleasant effect known as singsong arises from neglect of pause and rhythm.

Take a breath for each phrase. The more important the thought, the deeper and fuller should be the breath, but " use all gently."

Analyze the following selections for phrasing.

There is one broad proposition, Senators, upon which I stand. It is this — that an American sailor is an American citizen, and that no American citizen shall, with my consent, be subjected to the infamous punishment of the lash. Placing myself upon this proposition, I am prepared for any consequences.

Most potent, grave, and reverend signiors, My very noble and approved good masters, — That I have ta'en away this old man's daughter, It is most true.

How would you phrase the following : (a) for conversation, (6) for a very earnest and impressive didactic expression ?

The only method of acquiring effective elocution is by practice, of not less than an hour a day, until the student has his voice and himself thoroughly subdued and trained to right expression. —Henry Ward Beecher.

ILLUSTRATIVE SELECTIONS TRUE ELOQUENCE

When public bodies are to be addressed on momentous occasions, when great interests are at stake, and strong passions excited, nothing is valuable in speech farther than it is connected with high intellectual and moral endowments. Clearness, force, and earnestness are the qualities which produce conviction. True eloquence, indeed, does not consist in speech. It cannot be brought from far. Labor and learning may toil for it, but they will toil iu vain.

Words and phrases may be marshaled in every way, but they cannot compass it. It must exist in the man, in the subject, and in the occasion. Affected passion, intense expression, the pomp of declamation, all may aspire after it, but cannot reach it. It comes, if it comes at all, like the outbreaking of a fountain from the earth, or the bursting- forth of volcanic fires, with spontaneous, original, native force.

The graces taught in the schools, the costly ornaments and studied contrivances of speech, shock and disgust men when their own lives, and the fate of their wives, their children, and their country hang on the decision of the hour. Then, words have lost their power ; rhetoric is vain ; and all elaborate oratory contemptible. Even genius itself then feels rebuked and subdued, as in the presence of higher qualities.

Then, patriotism is eloquent ; then, self-devotion is eloquent. The clear conception, outrunning the deductions of logic, the high purpose of firm resolve, the dauntless spirit, speaking on the tongue, beaming from the eye, informing every feature, and urging the whole man onward, right onward to his object, — this is eloquence ;. or, rather, it is something greater and higher than all eloquence. It is action, noble, sublime, godlike action ! —Webster.

OTHELLO S DEFENSE

Most potent, grave, and reverend signiors,

My very noble and approved good masters, —

That I have ta'en away this old man's daughter,

It is most true ; true I have married her ;

The very head and front of my offending

Hath this extent, no more. Rude am I in speech,

And little bless'd with the set phrase of peace ;

For since these arms of mine had seven years' pith,

Till now, some nine moons wasted, they have used

Their dearest action in the tented field ;

And little of this great world can I speak,

More than pertains to feats of broil and battle ;

And therefore little shall I grace my cause,

In speaking for myself. Yet by your gracious patience,

I will a round unvarnish'd tale deliver

Of my whole course of love , what drugs, what charms,

What conjuration, and what mighty magic,

(For such proceeding I am charged withal,)

I won his daughter.

Her father loved me ; oft invited me,

Still question'd me the story of my life,

From year to year ; the battles, sieges, fortunes, ■

That I have pass'd.

I ran it through, even from my boyish days,

To the very moment that he bade me tell it :

Wherein I spoke of most disastrous chances,

Of moving accidents, by flood and field ;

Of hair-breadth 'scapes i' the imminent deadly breach

Of being taken by the insolent foe,

And sold to slavery ; of my redemption thence,

And with it all my travel's history.

These things to hear,

But still the house affairs would draw her thence :

Which ever as she could with haste dispatch,

She'd come again, and with a greedy ear

Devour up my discourse. Which I observing,

Took once a pliant hour ; and found good means

To draw from her a prayer of earnest heart,

That I would all my pilgrimage dilate,

Whereof by parcels she had something heard,

But not intentively : I did consent ;

And often did beguile her of her tears,

When I did speak of some distressful stroke,

That my youth suffer'd. My story being done,

She gave me for my pains a world of sighs :

She swore, — in faith, 'twas strange, 'twas passing strange ;

'Twas pitiful, 'twas wondrous pitiful :

She wish'd she had not heard it, yet she wisli'd

That Heaven had made her such a man : she thank'd me,

And bade me, if I had a friend that loved her,

I should but teach him how to tell my story,

And that would woo her. Upon this hint, I spake ;

She loved me for the dangers I had pass'd ;

And I loved her, that she did pity them.

This only is the witchcraft I have used ;

Here comes the lady, let her witness it.

— Shakespeake.

THE BALLAD OF THE OYSTERMAN

[For avoiding singsong. Try to read as colloquially as possible.]

It was a tall young oysterman lived by the riverside, His shop was just upon the bank, his boat was on the

tide ; The daughter of a fisherman, that was so straight and

slim, Lived over on the other bank, right opposite to him.

It was the pensive oysterman that saw a lovely maid, Upon a moonlight evening, a sitting in the shade ; He saw her wave her handkerchief, as much as if to say, "I'm wide awake, young oysterman, and all the folks away."

Then up arose the oysterman and to himself said he : " I guess I'll leave the skiff at home, for fear that folks

should see ; I read it in the story book, that, for to kiss his dear, Leander swam the Hellespont, — and I will swim this

here."

And he has leaped into the waves, and crossed the shining stream,

And he has clambered up the bank, all in the moonlight gleam ;

O there were kisses sweet as dew, and words as soft as rain, —

But they have heard her father's step, and in he leaps again !

Out spoke the ancient fisherman, — "O what was that,

my daughter ? "

" 'Twas nothing but a pebble, sir, I threw into the water." " And what is that, pray tell me, love, that paddles off so

fast?"

" It's nothing but a porpoise, sir, that's been a swimming

past."

Out spoke the ancient fisherman, — " Now bring me my

harpoon !

I'll get into my fishing boat, and fix the fellow soon." Down fell that pretty innocent, as falls a snow-white

lamb, Her hair drooped round her pallid cheeks, like seaweed

on a clam.

Alas for those two loving ones ! she waked not from her

swound, And he was taken with the cramp, and in the wave was

drowned ; Bat fate has metamorphosed them, in pity of their woe ; And now they keep an oystershop for mermaids, clown

below. — Oliver Wendell Holmes.

TRUE PATRIOTISM

Apprehensions of the imputation of the want of firmness sometimes impel us to perform rash and inconsiderate acts. It is the greatest courage to be able to bear the imputation of the want of courage. But pride, vanity, egotism, so imamiable and offensive in private life, are vices which partake of the character of crimes in the conduct of public affairs. The unfortunate victim of these passions cannot see beyond the little, petty, contemptible circle of his own personal interests. All his thoughts are withdrawn from his country and concentrated on his consistency, his firmness, himself.

The high, the exalted, the sublime emotions of a patriotism, which, soaring toward heaven, rises far above all mean, low, or selfish things, and is absorbed by one soultransporting thought of the good and the glory of one's country, are never felt in his impenetrable bosom. That patriotism which, catching its inspirations from the immortal God, and leaving at an immeasurable distance below all lesser, groveling, personal interests and feelings, animates and prompts to deeds of self-sacrifice, of valor, of devotion, and of death itself, — that is public virtue, that is the noblest, the sublimest of all public virtues.

— Henry Clay.

TALK TO AN ART UNION

It is a beautiful truth that all men contain something of the artist in them. And perhaps it is the case that the greatest artists live and die, the world and themselves alike ignorant what they possess. Who would not mourn that an ample palace, of surpassingly graceful architecture, fill'd with luxuries, and embellish' d with fine pictures and sculpture, should stand cold and still and vacant, and never be known or enjoy'd by its owner ? Would such a fact as this cause you sadness ? Then be sad. For there is a palace, to which the courts of the most sumptuous kings are but a frivolous patch, and, though it is always waiting for them, not one of its owners ever enters there with any genuine sense of its grandeur and glory.