the angels do so smile, and beckon little Jim! I have no pain, dear mother, now—but oh, I am so dry! Just moisten poor Jim's lips again—and, mother, don't you cry." With gentle, trembling haste, she held the liquid to his lips——
That which is quoted is supposed to be uttered by the dying child, and can not be given effectively without the changes in voice, etc., referred to above.
If, however, the climax of the narrative is a battle scene, and the Personation represents an officer giving a command, then a most marked change must be made in the voice between the narrative and the personation, which demands Full Force, Quick Time, High Pitch, and Orotund Quality, and the narrative portion will commence with Moderate Pitch and Time (increasing), and Medium Force.
1.
"Forward, the Light Brigade!
'Charge for the guns!' he said,
Into the valley of death
Rode the Six Hundred."
2.
(desc.) And when Peter saw it, he answered unto the people: (per.) "Ye men of Israel, why marvel ye at this? or why look ye so earnestly on us, as though by our own power or holiness, we had made this man to walk?" etc.
To read the Bible acceptably in public, requires the application of every principle in elocution; for nowhere is Expression so richly rewarded, as in the pronunciation of the sacred text. The Descriptive and Personation should be so distinctly marked, that the attention will be at once attracted to the different styles, and the meaning understood.
EXPRESSION.
The study of Expression is one of the most important parts of elocution, as it is the application of all the principles that form the science of utterance. It is the ART of elocution. Expression then should be the chief characteristic of all public reading and speaking. The student must forget self, and throw himself entirely into the spirit of what he reads, for the art of feeling is the true art which leads to a just expression of the features:
"To this one standard make you just appeal,
Here lies the golden secret, learn to feel."
The voice under the influence of feeling, gives the beautiful colouring, and breathes life and reality to the mental picture. Every turn in the current of feeling should be carefully observed and fully expressed. Not only the varied changes of the voice, however, but the indications by all the features of the countenance, contribute a share to give a good expression, and by far the greatest is derived from the eyes. The management of the eyes is, therefore, the most important of all—
"A single look more marks the eternal woe,
Than all the windings of the lengthened, oh!
Up to the face the quick sensation flies,
And darts its meaning from the speaking eyes;
Love, transport, madness, anger, scorn, despair,
And all the passions, all the soul is there."
The eye of the orator, and the expressive movements of the muscles of his face, often tell more than his words, his body or his hands, and when the eye is lighted up and glowing with meaning and intelligence, and frequently and properly directed to the person or persons addressed, it tends greatly to rivet the attention, and deepen the interest of the hearer, as well as to heighten the effect, and enforce the importance of the sentiments delivered. To the eyes belong the effusion of tears, and to give way to this proof of feeling should not be called a mark of weakness, but rather a proof of sensibility, which is the test of sincerity.
Next to the eyes, the mouth is the most expressive part of the countenance. "The Mouth," says Cresallius, "is the vestibule of the soul, the door of eloquence, and the place in which the thoughts hold their highest debates." It is the seat of grace and sweetness; smiles and good temper play around it; composure calms it; and discretion keeps the door of its lips. Every bad habit defaces the soft beauty of the mouth, and leaves indelible traces of its injury, they should, therefore, be carefully avoided. The motion of the lips should be moderate, to moisten them by thrusting the tongue between them is very disagreeable, and biting the lips is equally unbecoming. We should speak with the mouth, more than with the lips.
Unless the pupil is very careful, he will find some difficulty in keeping the mouth sufficiently wide open, he will gradually close the mouth until the teeth are brought nearly together, before the sound is finished, the inevitable consequence of which is a smothered, imperfect and lifeless utterance of the syllable or word. A good opening of the mouth is absolutely indispensable in giving the voice the full effect of round, smooth and agreeable tone.
* * * * *
CHAPTER XI.
GESTURE.
As more or less action must necessarily accompany the words of every speaker who delivers his sentiments in earnest, as they ought to be to move and persuade, it is of the utmost importance to him that that action be appropriate and natural—never forced and awkward, but easy and graceful, except where the nature of the subject requires it to be bold and vehement. If argument were necessary to enforce the importance of cultivation in gesticulation, one sufficiently cogent might be drawn from the graceful skill and power displayed in this art by the best actors on the stage. No truth is clearer than that their excellence in this is due to their own industry.
But, in applying art to the aid of Oratory, and especially in copying the gesture of those who excel in it, great caution is to be observed. No true orator can be formed after any model. He that copies or borrows from any one, should be careful in the first place, not to copy his peculiarities or defects: and whatever is copied, should be so completely brought under command, by long practice, as to appear perfectly natural. Art should never be allowed to put any restraint upon nature; but should be so completely refined and subdued as to appear to be the work of nature herself; for whenever art is allowed to supersede nature, it is immediately detected, shows affectation, and is sure to disgust, rather than please and impress, the hearer.
In general terms, force and grace may be considered the leading qualities of good action. In pleasing emotions the eye of the speaker follows the gesture, but in negative expressions the head is averted. The stroke of the hand terminates on the emphatic word. Be careful not to "saw the air" with the hands, but to move them in graceful curved lines. They should move steadily, and rest on the emphatic word, returning to the side after the emotion is expressed that called them into action.
The following positions and directions are as good as any, that can be expressed in a small compass, and they are given here for practice. One caution must be noted, which is, that excess of action is nearly as detrimental in oratory as no action. It becomes the speaker, therefore, in this, as well as in everything else, that pertains to elocution and oratory, to avoid extremes.
I. POSITION OF THE HAND.
1. Supine; open hand, fingers relaxed, palm upward; used in appeal, entreaty, in expressing light, joyous emotions, etc.
2. Prone; open hand,
