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In the recitation of descriptions of any kind, the speaker must, in imagination, have the picture before his eyes, and each object must be disposed in the same order as if actually painted. If this imaginary picture be faulty in the composition, confused, or ill-grouped, the gesture will perplex, rather than enlighten; but, if well conceived, and well disposed in its parts, the speaker will seem to give it the interest of life by his skilful gesture and recitation; and the auditor will almost imagine that he actually contemplates all that the speaker describes.

Impassioned compositions, delivered with proper feeling and expression, open, in like manner, to the view of the hearer, the internal operations of the speaker's mind, a contemplation still more interesting than any scenes of external nature which can be presented in description.

As, in writing, even an appropriate term must not be used too frequently, so in this art, the same gesture, however expressive, must not be too often repeated. Variety is graceful, and requires that similar gestures, as well as similar words, should be separated by those which are diverse.

In oratorical action, it is a general rule that each new idea requires a new gesture. But important ideas, only, require distinguished gesture. For these last, therefore, should be reserved the species of gestures named emphatic; for the former (which are the most numerous), the discriminating will be sufficient. As to frequency, the propriety of gesture will be found to depend on the deliberation and expression of the speaker. If the feelings are not alive, and if the lines are not pronounced with due deliberation, the gestures will appear to be too numerous. In the preceding examples they may seem to have this fault, from the circumstance that it is my object to exhibit at large the greater part of their minute connexions and transitions. A little attention, however, will show, that much, still, has been left to be supplied by the judgment of the reader.

The notation, and the analytical observations on the foregoing pieces, will, it is conceived, afford sufficient information to such as may desire to assist their rhetorical studies by this system. I would not recommend that the young speaker, in using this notation, should mark every possible passage in his discourse, in the manner of these examples; for such minuteness would lead to embarrassment, unless preceded by much labour. The utmost advisable notation should not exceed a few marks on particular passages, and those separated from each other; the filling up of which should be trusted to the feelings of the moment. But the best method, in all respects, for acquiring a finished rhetorical delivery, is the private practice of declamation, which is supported on the authority of the great masters and models of oratory, Demosthenes and Cicero. The aspiring rhetorical student should select one or more celebrated orations, couched in the style that he wishes to adopt; these he

should carefully subject to all the rules of notation; he should study them, and commit them to memory; he will exercise on them all the powers of his voice, his countenance and gesture; and, like Demosthenes, consult his mirror, and obtain the opinion of a judicious friend on his performances. The knowledge and facility, which, by repeated exercises of this kind, he will acquire in rhetorical delivery, may be transferred, with advantage, to his own compositions which are to be delivered in public; and, without hazarding the inconveniences of particular notation, he will find himself possessed of such a store of various, forcible, and expressive action, that, whatever his feelings shall suggest at the moment, he will be able to execute in a satisfactory manner.

QUESTIONS

TO BE ANSWERED BY THE PUPIL.

ELOCUTION.

Page 15. What is Elocution? What does Elocution comprise? What does the science of Elocution embrace? What does the art of Elocution embrace? How is Elocution divided? What is Vocal Gymnastics? What is Gesture? How is Vocal Gymnastics subdivided?

ARTICULATION.

Page 16. What is Articulation? What is Pitch? What is Force? What is Time? Can the elements of vocal language be formed separately? What is good articulation? What advantage results from good articulation?

Page 17. Can one be a good reader, or speaker, whose articulation is imperfect? What is the condition of the organs of articulation in those who have never been in the practice of pronouncing their words distinctly? What is the best method for rendering the muscles of articulation obedient to the commands of the will?

Page 18. What are the elements of vocal language? What is the number of letters in the English language? What is the number of elements in the English language?

Page 19. How are the elements divided? Describe the vowels- the subvowels- the aspirates. Pronounce the vowels - the subvowels the aspirates.

Page 20. ments?

Why are not C, J, Q, and X, classed with the ele

Page 21. How are the vowels divided? What is a monothong? By what letters are the monothongs represented? What is a diphthong? By what letters are the diphthongs represented? What are the constituents of the diphthongs? What is a triphthong? By what letters are the triphthongs represented? What are the constituents of the triphthongs?

Page 22. Are there any other diphthongs and triphthongs? By what letters are they represented? Do they increase the number of the elements? Give an analysis of them. What is the condition of the aperture of the mouth, during the utterance of a monothong?a diphthong? a triphthong?

Page 23. Of what does B consist, and how is it formed? Of what does D consist, and how is it formed?

Page 24. Describe G. What is L? What is M? What is N? What is NG? What is R, and how many varieties are there of this element? When should R be trilled, and when made

smooth?

Page 25. What is TH, in then, and how is it formed? What is V, and how is it formed? Describe W. Describe Y. What kind of a sound is Z, in zone, and how is it formed? What is Z, in azure, and how is it formed? How is F formed? What is H? In how many ways may H be uttered? How is K formed?

Page 26. How is P formed? Describe S. Describe SH. How is T formed? Describe TH, in thin. What is WH, and what posture of the mouth does it require?

Page 27. Are there any elements that require more than one posture of the mouth? How is a vowel exploded? What advaLtage results from exploding the elements?

Page 30. What is defective articulation? Is it common? From what does it arise? Children are apt to say day for gay; tate for cake, &c. how may these faults be corrected? Page 31. Some children pronounce John, don; Charles, tarles, &c.-how may these faults be corrected?

Page 32. Some persons confound V and W-what exercises will be found beneficial in correcting these faults? In correcting errors in articulation, why is it advantageous to practise the exercises before a mirror? What is lisping? What is the remedy for lisping?

Page 33. What is stammering? How does the cause operate? How is stammering cured? Does every case require the same treatment? Can any one treat stammering successfully?

PITCH.

Page 38. What is pitch? There are two divisions of pitchwhat are they?

Page 39. What is the Diatonic Scale? What is the order of the scale? What is the octave?

Page 40. What is an interval? What is a discrete interval? What is a concrete interval? Name the principal intervals. What is the difference between a major third and a minor third ? Page 41. How many sorts of voice do we employ in the expression of our thoughts? Describe them. What do the Italians mean by the terms voce di petto and voce di testa?

Page 42. Describe the whispering voice. In what respect does the female voice differ from that of the male? Describe the voices of boys. How is the voice divided? What is the orotund voice?

Page 46. To what range of pitch is the speaking voice mostly

confined, in good elocution? There is a very common fault, in regard to pitching the voice-what is it?

Page 47. What are inflections? How many different inflections are described by writers on Elocution? In what respect does a rising inflection differ from a falling inflection?

Page 49. What is the extent of the concrete intervals of the notes of speech? Do falling inflections traverse the same range of pitch as their corresponding rising inflections?

Page 50. In what other respect do these inflections differ? Give some account of the circumflexes.

Page 51. Why should not a falling inflection be used for the sake of mere variety? What should determine the direction of inflections? Page 52. What is melody? How is melody distinguished from harmony? What is notation? What is intonation? On what is melody founded?

Page 53. In what respect does the melody of speech differ from that of song? Is it necessary, for practical purposes, to present every syllable in speech under its proper note, as is done in song?

Page 54. What is an emphasis melody? Describe the staff of speech. Give an example of emphasis melody. What is the pitch-note of speech?

Page 55. On which line of the staff is the pitch-note written? What is the effect of reading altogether in the pitch-note? How is the voice properly varied in pitch? Is the melody of speech confined to four degrees of pitch, whose intervals are as determinate as those of the Diatonic Scale? Does the melody of speech consist solely of emphasis melodies? Mention some points in which the graphic notes of song, and those of an emphasis melody, differ. What care is necessary to be taken in reading emphasis melodies? Page 56. What is modulation? How is modulation effected, and with what is it generally accompanied? What is the province of modulation? Describe the staff of modulation.

Page 57. Give an example of modulation.

FORCE.

Page 59. What is force? How is force divided? How are the terms high and low, and loud and soft, applied to force? By what are the nine degrees of force expressed?

Page 60. In what way should force be varied? What is stress? What is radical stress? What is median stress?

Page 61. What is final stress? What is explosive stress? What is tremour? How may tremour be illustrated? Why is it necessary to pay attention to the subject of force?

TIME.

Page 63. What is time? How is time, in music, divided? How does the time of speech differ from that of song?

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