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cessary ; 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 habit of giving too great or too little extent to his slides of voice, he should be carefully corrected, according to the suggestions given, p. 43, 50, 51, and 88.—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 and sentiment demand. In respect to those i principles of modulation, in which the power of delivery so

essentially consists, we should always remember too, that, as no theory of the passions can teach a man 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. Previous attention should be given to añy example or exercise, before it is read to the Teacher. At the time of reading, the student 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 why such a modification of voice occurs, in such a place, and how a change of structure would vary the inflection, stress, &c. 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.

4. When any portion of the Exercises is committed to

memory for declamation, it should be perfectly committed, 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 view to adopt the suggestions of the Instructor. The selected pieces are short, because, 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, like that of Brutus on the death of Cæsar, (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.

KEY OF RHETORICAL NOTATION.
Key of INFLECTION.

(00) high and loud. - denotes monotone.

( ) low.
rising inflection. (o) low and loud.
falling inflection.

( . ) slow.
circumflex.

(=) quick. Key of MODULATION, (-) plaintive. (9) high,

(1) rhetorical pause.

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203

EXERCISES ON EMPHASIS.

Exercise 19, 20, 21, 22. Absolute and Relative stress, and Em-

phatic Inflection

205

23. Difference between common & Intensive Inflection 226

EXERCISES ON MODULATION.

Exercise 24. Compass of voice

227

25. Transition .

232

The power of Eloquence

ib.

Hohenlinden

234

Hamlet's Soliloquy

235

Battle of Waterloo

236

Negro's Complaint

238

Marco Bozzaris.

240

Extract from Paradise Lost

242

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