Elocution has been well defined by Mr. Isbister to be “the art of delivering written or spoken language in the way best calculated to express the sense, beauty, or force of the words employed by the speaker." This is a perfectly sound definition, and I shall endeavour to point out some of the ways in which such a desirable effect may be attained. The first thing I would say is-understand and feel what you read, and success is almost certain to crown your efforts. "To this sure standard make your just appeal; Here lies the golden secret-learn to feel." Do not imitate the peculiarities of others, no matter how much you may admire their styles, as what is suitable to one is out of character in another—merely producing a ludicrous resemblance, without the talent or genius, as the case may be, of the person copied. To produce a good clear voice-stand erect, speaking from the chest. Do not stoop, as though oppressed by disease, but have the chest expanded, taking breath silently, as gasping is very disagreeable to the hearers and wearisome to yourself; besides, if proper pauses be made, sufficient time is allowed for quiet breathing. Over-exertion is thoroughly distressing to yourself and gives pain to your audience, as the sympathy between speaker and listener is wonderfully acute. When reading aloud, give the lungs full play, as otherwise the effect is most injurious; but, if the sound come freely from the chest, no hurtful consequences can ensue. Avoid monotony. Some readers who have many natural qualifications, and would be most effective in this art, ruin all by the absence of variety. The best remedy for this will be found in the practice of dramatic selections, since, in rendering these, change of voice is absolutely necessary for their proper understanding. Different characters require different tones in their delineation, the changes being as frequent as in real life. Shun bombast and rant, for, "though it make the unskilful laugh, it cannot but make the judicious grieve." Great care, therefore, will be required in following this direction, for it is the most common fault of some of our (otherwise) very finest readers. "Be not too tame, neither," but remember that passion requires to be slightly heightened, or modulated, according to the size of the place in which you read. Speak from the heart-placing yourself in the positions of the characters which you are representing. If you do this, your words will surely reach the hearts of the auditors. Pay great attention to a simple narrative style, and practise the low notes, as few can use them distinctly. "Learn to speak slow, all other graces Will follow in their proper places." As to punctuation, do not adhere blindly to what is printed before you, but let common sense be your guide. Change of punctuation frequently causes an alteration in the sense. For instance, the general reading in “Hamlet". "What, looked he frowningly?" I have heard changed by our greatest living actor, Mr. Henry Irving, to— "What looked he ?-frowningly?" The latter seems a much more natural rendering, when one thinks of the preceding sentences. Do not emphasise too much, as, if every word be rendered emphatic, very scant attention will be paid to what you say, and if the emphasis be wrongly laid, the whole sense of the passage is changed. The following example will illustrate my meaning: Q. Will you buy this now? A. No; perhaps I may on to-morrow. Q. Will you buy this now? A. No; I shall buy the other. Q. Will you buy this now? A. No; perhaps you will give it to me. Q. Will you buy this now? A. No; Arthur may do so. Q. Will you buy this now ? A. Yes; did you imagine that I would not? In all the above cases, a change of emphasis effects a complete change of meaning. As to pronunciation, the best guide is the usage of good society. Observe the way in which words are generally pronounced by educated men and women. But do not pronounce the same word differently at different times, as I have frequently noticed to be the case, sometimes even in the same sentence. Lists of sounds have been published for the correction of defective articulation, but I fear they are of small value. I have found the best method of cure to be for the master to pronounce the word in imitation of the pupil, and then show the right method, drawing attention to the position of the different organs whilst in the act of speaking. Pay particular attention to the vowel sounds. Do not neglect giving each letter or syllable its due distinctness. Facial expression is also of great importance. If a man's countenance remain unchanged whilst speaking under the supposed influence of various emotions, half-nay, more than half the meaning is lost to his audience, simply because anything unnatural loses its interest almost altogether. None of us have ever heard syllables of fire proceeding from the mouth of an inanimate wax figure. "THE COUNTENANCE IS THE TRUE INDEX OF THE SOUL." "A single look more marks the internal woe, Over-action is worse than none; too literal gesture is ridiculous; but action in moderation, combined with the other necessary qualities, is the sum-total of a good elocutionist. When Demosthenes was asked what was the first point of oratory, the second, and the third, he answered to each question, "Delivery, delivery, delivery." It is utterly impossible, and consequently, futile to make the oft-repeated attempt of reducing this portion of Elocution to a science, with certain specific rules, as various people differ in those impulses which severally influence their modes of gesture. While on this subject, I cannot do better than quote the following passage from Mr. Hullah's treatise on the speaking voice : "Whatever control we may acquire over our voices, of themselves, we shall never turn them to the best account till we have attained also considerable control over the rest of our bodies. In this Englishmen are singularly deficient, if not by nature, by art, which is second nature. Granted that action, not suggesting itself to the average Englishman as essential or even becoming to his every-day talk, is somewhat startling, has an air of unreality or affectation-when made an accompaniment to English oratory, surely that does not justify our public utterances being disfigured, as they often are, by a thousand awkward and ridiculous tricks. If profound and original thought, expressed in well-chosen and well-sounding words, tells most on an English audience when these words issue from a frame which betrays no more sympathy or connexion with them than does the case of a pianoforte with the music of which it is the medium-be it so. The Englishman is a reticent, undemonstrative creature, not predisposed even to vocal expression, and decidedly indisposed to pantomimic. No doubt; then let him stand still when he speaks. But this he never succeeds in doing. One English orator will enforce his arguments by pommeling, at frequent intervals, the table, desk, hand rail, or aught else within his reach; another cannot put forth half-a-dozen coherent sentences without sawing himself backwards and forwards like the masts of a yacht at anchor; another folds his arms over his chest-one of the most unfavourable postures for vocal utterance into which the human body can be thrown; while another, having tried a variety of ways of suiting the action to the word, frankly admits his failure by putting the means of action-his hands-into his pockets. Experienced actors, however, say that few things in the exercise of their calling |