■ n LIBRARY OF CONGRESS. ©|ap* dn|njrir$rt 3fn. sheif ._„:____ A\ (o % Ji-7 6 UNITED STATES OF AMERICA. OUTLINE LESSONS • IN. ELOCUTION. By PROF. GEO. HUNTINGTON. Carleton College, NorMelfi, MM. NORTHF1ELD : WHEATON Hi, PIERCE, PRINTERS. 1881. TM*' 6* H7^ INTRODUCTION. The publication of the lectures on Voice and Articulation proved so far conducive to the conveni- ence of both student and teacher, that those of Expression are now added. The book thus com- prises an outline of all the general exercises in elocution given by the author, except those in Vocal Gymnastics. Our study and drill during the spring term will have to do chiefly with the subject of Expression, although involving continual reference to preceding topics. It is needless to say that these brief outlines are not intended to teach Elocution, apart from oral instruction. OC Copyright, -1881. by Geo. Huntington. X> \ . . M / Voice and Articulation, i. DEFINITIONS. 1. Voice. — When the breath is rendered audible, for purposes of expression, it is called voice. 2. Utterance. — The production of voice is utter- ance. 3. Speech. — When voice is divided into sounds and syllables, it is called speech. 4. Articulation. — The formation of s}^llables is articulation. 5. Elocution. — Elocution has to do with both utterance and articulation. 6. Element* of Language. — The various sounds and articulations of a language constitute its ele- ments, and are represented by letters. VOICE AND ARTICULATION. IT. VOWEL ELEMENTS. Of the vowel sounds, called also vocal , and tonic, the following are the most important: a long, as in late. a broad, as in father. a (awe), as in ball. a short, as in mat. e long, as in eve. e short, as in yet. i long, as in mile. i short, as in sit. o long, as in no. o (oo), as in move. o short, as in lot. oi. . . . as in oil. ou as in our. u long, as in use. u short, as in but. u .... as in full. Several other shades of sound may be distin- guished; but most of them are due to peculiar combinations, and are not distinct elements. The most critical of all the vowel sounds, and the one most frequently corrupted, is long u. After r,' and sometimes after s, it has the sound of oo; in all other cases it is exactly equivalent to VOICE AXD ARTICULATION. The vowel elements should be frequently prac- ticed, both separately and in syllabic combinations. 111. CONSONANT ELEMENTS. The consonants are sometimes classified accord- ing to the organs which they call into use; as labials, Unguals-, palatals, etc. It is more simple to classify them according to sound. 1. Mutes. — The consonants c hard, k, p, q, and t are called mute, atonic, or non-vocal. They are simply articulations, having no sound except in combination with other elements. 2. Aspirates. — Consonants which have a rough, or hissing sound, are called aspirates. They are c soft, f, h ; r, s 7 x, ch soft, sh, and th soft (as in thin). 3. Semi-Vocal, called also sub-vocal, and sub- tonic— These are b, d, g, j, 1, m. n, v, w, j 3 z, ng, and th hard (as in thou). Each of them involves a certain vocal element, approaching more or less nearly a vowel sound. We may classify w and y as real vowels, w being nearly equivalent to oo, and y to long e, or short i. The accurate articulation of consonant sounds is of very great importance, and is a test of culture. The most delicate of all English articulations, and the one most frequently corrupted or neglected, is r. It has two sounds: initial i\ as in roll, and 6 VOICE AND ARTICULATION. final r as in door. Two faults are common in respect to it; the exaggeration of the initial r, as in r-r-r-oll, for roll, and the omission of final r, as in haus-cah, for horse-car. The consonants should be frequently practiced, alone and in combination with each other, and with the vowels. • IV. QUALITY OF VOICE. Quality refers to the kind of tone produced, and to the perfectness of each kind. 1 The Whisper. — The true whisper is merely audible breath, without the least vocal resonance. Though the lowest quality of voice, it is one of the most trying to the organs. 2. The Half -Whisper. — When some degree of vocal quality is combined with the whisper, it is called half- whisper, or breath-tone. To most per- sons it is the most trying of all vocal efforts. The whisper and the half-whisper are the natural expression of fear, awe, secresy, etc. 3. Pare Tone. — This is the quality required for all ordinary uses of the voice. Pure tone is clear, smooth, vocal, resonant, sweet. The following faults of tone, to which it stands opposed, will help us to understand what it is: 1. Nasal, or nose tone: 2. Oral, or mouth tone. VOICE AND ARTICULATION. 3. Gutteral, or throat tone. 4. Pectoral or chest tone. 5. Aspirated, or breath tone. 6. Combinations of two or more of the above faults. 4. Orotund. — This is the highest effort of the voice, adding to all other qualities that of intense feeling, ■ It cannot be described, and can hardly be produced, except under the influence of genuine emotion; though it is common enough, and easily identified when heard. The student should practice the whisper, the half- whisper, pure tone and orotund, in the utter- ance of vowel elements, words and sentences. V. STRESS. Every sound may be regarded as having a begin- ning, a middle and an end. Stress is the relative degree of force given to the different parts of a sound. There are seven kinds of stress. 1. Radical Stress, ;> which puts the greatest degree of force upon the first part of the sound. 2. Terminator Vanishing Stress } < which com bines the radical and terminal. VOICE AND ARTICULATION. 4. Median Stress, o which puts the greatest degree of force upon the middle of the sound. 5. Thorough Stress, ZZZ which preserves the same degree of force throughout the whole sound. 6. Intermittent Stress, — — - which consists of alternations of greater and less degrees of force. 7. Explosive Stress, • • • • • a succession of very short, clear tones; the vocalization of the jets of air projected into the throat in " palate percussion.'' Let these different kinds of stress be frequently applied to sounds and syllables. Their use in expression will be duly explained. vr. FORCE. Force refers to the relative loudness or softness of tones, according to the degree of energy with which they are uttered. From the softest tone to the loudest, the grada- tions are very gradual, and almost innumerable; but it is convenient to note five principal degrees of force: 1* Moderate. % Soft, 3. Very soft. 4. Loud. 5. Very loud, VOICE AND ARTICULATION. 9 The more gradual differences of force may be represented to the eye. Continuous tone — iffunaar^"' 11 Separate tones, °oooo0oooo 8 It is useful to practice the various vowel ele- ments with different degrees of force; and very important to learn in reading or speaking to adapt force to the sentiment, the purpose in view, the size of the room, the circumstances, etc. VII. PITCH. Pitch in elocution, as in music, has an important relation to melody and to expression. It may vary through every note of the scale within the range of the speaker's voice; but it will be convenient to distinguish five principal positions on the scale. 1. Median, that is, the natural, conversational key of the voice, differing greatly in different persons. 2. Low. 3. Very low. 4. High. 5. Very high. In the practice of exercises in pitch, it is well fco follow the musical scale, both upward and down- 10 VOICE AND ARTICULATION. ward, with the aid of an instrument, or otherwise, sounding each vowel upon every note of the entire scale. This practice, with the use of median stress, is one of the best means of cultivating purity of tone. VIIL INFLECTION. Inflection is a change of pitch in the different parts of a tone, or the different syllables of a word. Slides. — The movements of the voice in inflec- tion are called slides. The word slide is also used to denote the marks which indicate these move- ments. The Rising Slide, or Inflection, (/ ) is a change from a lower to a higher tone. The Falling Slide, or Inflection, (\) is a change from a higher to a lower tone. The Compound Slide, or Inflection, is a combina- tion of the two preceding. If it end with the upward slide ( V)> it is called the upward compound; if it end with the downward slide, (A)) it i s called the downward compound. Inflections may vary in length from a semi-tone to an octave. Those which move by half-tones are called minor slides. Those which move by whole tones VOICE AND ARTICULATION. 11 are called major slides. A tone which has no inflection is called a monotone. Inflection is an indispensable aid to expression, and should be freely practiced in both elementary exercises and sentences. IX. T I M E . The effect of thought or of language often depends upon the time occupied in uttering it. Time may be varied in four ways: 1. By making the vowel sounds longer or shorter. 2. By articulating the consonants more or less deliberately. 3. By introducing special pauses between certain words, clauses, or sentences. 4. By varying the general rate of movement, which may be moderate, fast, very fast, slow, very slow. The fuller treatment of this topic belongs to the subject of Expression, the study of which is deferred until the next term. CONCLUSION. The voice is our chief means of intercourse with our fellow men. A flue voice is a source of pleasure and of power. 12 VOICE AND ARTICULATION. A bad voice mars every utterance, and torments the ears of one's neighbors. No voice is so good as not to need training, or so poor as to be incapable of it. The condition of success in vocal culture is systematic and persistent practice. ^^r Expression. Under Vocal Gymnastics we studied the various vocal organs, and the best ways of strengthening them, and of rendering them manageable and efficient. Under Voice and Articulation we studied the various sounds in our language, and the many ways in which they may be modified for elocutionary pur- poses. We now understand, in a general way, the instru- ment with which we are to work, the modes of its action, and the meaning of the terms employed to denote its parts. We next come to the application of this knowl- edge, that is, to practical elocution. This involves two things, — the purpose which the speaker has in view, and the means by which he may accomplish it. PTJRPOSE OF ELOCUTION". Without some definite purpose, effective elocu- tion is impossible. The very first question, there- fore, is: What do we wish to accomplish I A few of 14 EXPRESSION. the more general objects of the speaker may be specified. 1. Information } as by a simple statement of fact. 2. Instruction, as by the statement of important facts or principles. 3. The production of some thought or image in the minds of others, as when we describe an object, or express some mental state or process of our own. 4. Conviction, as when we use arguments to prove what we are saying. 5. The excitement of feeling, such as reverence, fear, hope, pity, contempt. 6. Influence upon men s actions, as by a call to arms, or to the performance of some service or duty. The adaptation of expression to the purpose of the speaker constitutes no small part of elocutionary art, and requires taste, study and skill. MEANS OF EXPRESSION. These may be divided into five classes: 1. Verbal expression, or that of language. 2. Vocal expression, or that of the voice. 3. Facial expression, or that of the features. 4. Corporeal expression, or postures and move- ments of the body. 5. Gesticulation, or the expressive use of the hands and arms. EXPRESSION. 15 I. • VERBAL EXPRESSION. This subject belongs to the department of Rhet- oric, rather than to that of Elocution. It is obvious that elocutionary effects must depend, to a very great extent, upon the language employed, and will, other things being equal, be in proportion to its fitness and force. On the other hand, it must be remembered that the meaning and power of words can be but imper- fectly conveyed without appropriate utterance. It is a great mistake to suppose that the few dramatic and humorous selections to which public readers commonly confine themselves are the only ones capable of being expressively rendered Any- thing that is well written can be well read; and the more quiet the sentiment, the more difficult the expression. II. VOCAL EXPRESSION. The various modifications of which the voice is capable constitute our principal means of expres- sion. They consist chiefly in changes in quality, stress, force, pitch, inflection and time, which are severally discussed under Voice and Articulation. Consulting the statements there given, we see that, using only the principal modifications of the voice, 16 EXPRESSION. at least 350 ; 000 are possible; while, by adding intermediate ones, the number is easily increased to four or five billions. But besides all these , there are many subtle qualities, such as resonance, sym- pathy, etc., which raise the number almost beyond computation. The voice of each person combines certain of these qualities, natural or acquired, which give it individuality. Hence, no two voices are precisely alike. This natural voice of the speaker is the founda- tion of all elocutionary success, and, excepting its positive faults, of tone or of utterance, should be carefully preserved. To the aid of these natural qualities the art of the elocutionist brings such others as will best enable him to express the thought or feeling to be uttered. No minute directions can be given which will enable the speaker mechanically to produce correct expression in all possible cases. Such skill can only be acquired by much study and long-continued practice. Yet there are certain rules and principles which may be profitably heeded. GENERAL RULES OF EXPRESSION. 1. Keep the vocal organs in a sound, vigorous and active condition. Weakness or inflexibility in them mars every effort. 2. By frequent and varied practice, get such EXPRESSION. J 7 control over them that they will readily obey the will whatever is demanded of them. 3. Articulate distinctly, and pronounce correctly. 4. Observe and correct the faults of your voice, until the habit of correct utterance is so fixed that you need not, when speaking, think of your voice at all. 5. Do not imitate the tone or style of others, but develop your own. 6. Avoid all affectations in voice or utterance. An affectation is any unnatural mode of speaking assumed for effects Among the most common are mincing, mouthing, pomposity, singing, whining, semitones, excessive emphasis, and simulated emo- tion. 7. Avoid monotony. Do not form the habit of beginning and ending every sentence in the same w^ay, or of giving them the same expression, but adapt the expression to the sense. 8. Study the sentiment carefully; make it your own; give your yourself up to its influence; practice until you are able to express it, and then dare to express it just as effectively as you can. Diffidence and timidity are the greatest foes to expression. 9. The ordinary pitch should be such as is natural ^o your voice, neither too high nor too low. The conversational voice is the best te^t. 10. Force, or loudness of tone, greatly as it may vary, should always be sufficient to make one heard. L8 EXPRESSION. For almost all occasions , a full; strong and sus- tained tone is most expressive. 11. Time is of great importance. Most young speakers speak too fast to allow of expression. Great care should be used in phrasing, i. e., in grouping the words of a sentence into divisions and subdivisions, according to their relations. This requires the right use of pauses. The omission of pauses where they are needed, and their introduction where not needed ; are among the most common faults of unskillful reading. 12. Emphasis is the most essential of all elements of expression. In every sentence certain words or phrases are of more importance than others; these should receive emphasis corresponding to their prominence, while the less important should be more lightly passed over. 13. In committing to memory any exercise, original or selected, let the expression be the first thing attended to. and the memorizing of the words the last of all. PARTICULAR RULES OF EXPRESSION. 1. Compositions addressed to the intellect only require pure tone, radical or median stress, moderate force, variable but not extreme pitch, free but not long slides, moderate time, distinctness of utter- ance, and careful attention to emphasis. Under this class come unimpassioned description, narration, EXPRESSION". 19 arguments and commands, statements of facts or principles, etc. 2. Compositions addressed to, or expressive of the feelings call into use every variety of tone and of utterance. (1.) Calm and contemplative emotions, such as intellectual, moral or aesthetic pleasure, require full, smooth tones, median stress, median pitch, moderate time and short slides. (2.) Earnest but quiet feeling, such as love, rever- ence, adoration, admiration, regret, require nearlv the same qualities, excepting that the slides are somewhat longer, the stress is more marked, and the tone approaches or reaches the orotund. (3.) Strong or deep emotions show their intensity by increase of force, and by a tendency toward oro- tund quality. (4.) Grief is manifested by semi- tones, and by jntermittant stress. (5.) Fear, awe, horror, etc., speak in whispers or half- whispers, with a tendency to terminal stress. (6.) Scorn and contempt resort to asperated tones and terminal stress. The circumflex accent often adds effect. (7.) Anger, hate, revenge, etc., employ the gut- teral quality and the terminal stress. (8.) Courage, defiance, etc., speak in loud pur e tone or orotund, with radical or terminal stress. (9 ) Mirth has great variety of expression, but 20 EXPRESSION. generally chooses high pitch, orotund quality, and laughter. In some varieties of humor, particularly in wit, sarcasm, irony, and often in humorous description or narration, the effect is heightened by excessive gravity. It is evident that two or more emotions ma} 7 be combined; also that both the intellect and the emo- tions may be addressed at once. This, of course, requires a corresponding modification of expression. III. FACIAL EXPRESSION. The actor and the dramatic reader make much use of facial expression, particularly in the repre- sentation of passion. The ordinary reader has little to do w T ith it, except negatively. 1. Avoid all facial contortions and grimaces. 2. Do not gesticulate with the lips, eyelids, eye- brows, or other features. 3. Avoid all affected expression, such as smiles or frowns, rolling of the eyes, etc. 4. Cultivate repose, self-possession, and interest in your subject. IV. CORPOREAL EXPRESSION. Under this head belong the various postures and movements of the speaker's body, excepting ges- tures. EXPRESSION. 21 The most important requisites are : 1. Composure, without dullness. 2. Animation, without excitement. 3. Energy, without abruptness. 4. Dignity, without stiffness or pomposity. 5. Grace, without affectation. PASSING TO AND FROM THE STAGE. 1. Avoid the appearance of haste, on the one hand, and that of lethargy or indolence on the other. 2. Walk quietly, but with energy, neither saun- tering nor swaggering, neither on tiptoe, nor with scuffling or stamping, neither swinging the arms violently, nor holding them stiffly at the sides. 3. Ascend the stage deliberately, and do not bow or begin to speak until you have reached your place and taken your position. POSITION BEFORE THE AUDIENCE. 1. Let the head and body be erect. 2. Face the audience squarely, and look at them as you address them. 3. Let the hands ordinarily hang easily at the sides, except when using them for gesticulation. Avoid all nervous, fldgetting motions of the hands or the fingers. THE FEET. Five main positions of the feet may be recog- nized : 22 EXPRESSION. 1. The military position,— the feet side by side ; the toes turned outward; the weight of the body thrown slightly forward. 2 and 3. One foot advanced beyond the other; the weight of the body chiefly on the forward foot. 4 and 5. The same positions as in 2 and 3, except that the weight rests chiefly on the rear foot. Change your position occasionally, but not too often, and only by quiet, unobtrusive movements. Do not stride back and forth upon the stage. THK BOW. 1. A bow should precede and follow av'ery address to a public audience. 2. The bow should not be blended with other movements of the body, as with walking or turning around, in coming upon or leaving the stage, but should be preceded and followed by a slight pause. 3. A graceful bow is a slight bending of the body at the ankles, the hips and the neck. 4. Avoid a mere nod, a flourish, or an obsequious obeisance. V. GESTICULATION. This term is often applied to all bodily action in oratory; but it is more convenient to use it in its popular sense, restricting it to the movements of the hands and arms. No treatise upon gesture can be given here; yet EXPRESSION. it is important that we learn the system of notation by which the different gestures are commonly desig- nated, and some of the general principles which govern their use. THE HANI). 1. Supine, or extended, open, with the palm upward. This is the most common position, and is used in assertions, admissions, requests, inquiries, and in a great variety of descriptive and emphatic gestures. 2. Prone, "or extended, open, with the palm down- ward. This denotes rejection, repulsion, refusal, repression, and many other ideas, chiefly negative. 8. Erect, or extended vertically, open, with the palm outwards. This expresses fear, abhorrence, aversion, deprecation, etc. i. (Jlasjjed, as in supplication or entreaty, or in simple repose. 5. Clenched, denoting anger, defiance, resolution, self-control, etc. 6. Indexed, used in pointing, enumerating, etc. THE ARM. The arm is the radius of a sphere, within a segment of which it moves in gesticulation. If, from a vertical position it be carried outward and downward, on a line with the body, the hand will describe what is called the lateral circle of gesture. If it be carried forward and downward, at right angles with the former movement, it will describe 24 EXPRESSION. what is called the front circle of gesture. The circle midway between these two is called the oblique; and the one forty-five degrees back of the lateral is called the backward oblique. A circle intersecting these at the height of the shoulder is called the horizontal; one parallel with the horizon- tal, and forty-five degrees below it, is called the descending line, and that forty-five degrees above the horizontal is called the ascending line. The intersections of these seven lines indicate the prin- cipal positions of the hand in gesticulation, though innumerable intermediate positions are possible. The first letter in the name of each circle is used to designate it, as f. for front, d. for descending, etc. ; while the letters designating intersecting circles are combined to denote the gesture in which the hand is at the point of the intersection, as d. o. for descending oblique. SIGNIFICANCE OF GESTURES. 1. Gestures of Emphasis. — These are appropriate, though often unconscious motions, revealing the speaker's earnestness, or rendering his words more forcible. They partake of the individuality of the man, and are hardly subject to rules ; though the descending front or oblique is most common. 2. Gestures of Description .—These serve to locate an object referred to, or to make the hearer's con- ception of it more vivid, as when one indicates height, depth, direction, distance, motion, etc. EXPRESSION. 25 3. Imitative Gestures, — These reproduce acts which are described by the speaker. Both descrip- tive and imitative gestures are used to give reality and vividness to the imagery in figurative language. 4. Gestures of Expression. — These constitute a sort of natural language, expressive of the mental state of the speaker. Forward gestures generally express intellectual ideas; higher gestures, noble or moral ideas : backward gestures, negative ideas. OUTLINE LESSONS • IN- ELOCUTION. By PROF. GEO. HUNTINGTON. Carleton College, NortMelfl, Minn. NORTOTIEif) : WHEAT ON ic l'ii:i:rE. PRINTERS. iSSi. — — 1