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JUNIOR YEAR, FIRST TERM.

SUBJECT OF STUDY.-Acceptable delivery before large audiences. Style of delivery for POPULAR ORATORY.

Remarks.-There is a peculiar excitement produced in a speaker by the presence of a large crowd of his fellow men—a more expanded sympathy, and a corresponding enlargement of manner, in delivery.

To succeed with large and miscellaneous assemblages, eloquence must be spirit-stirring and attractive.

A musical voice and rhythm are indispensable.

Attitude and gesture must intentionally be made more bold and free, in order to attract the eye from a distance.

The question will be asked, Does the study and practice of successful delivery before large audiences, improve the speaker's style of delivery before smaller ones? It does; and indeed it is impossible to arrive at the higher styles of eloquence by any other process of cultivation. Without it, a speaker's manner will exhibit a narrowness, littleness, and restraint. It is always easy to reduce the scale of our delivery when we wish to adapt it to a small audience. Vide pp. 169, 170.

LESSON I.

EXPANDED VOICE.

Remarks.-The object of this lesson, is to make the most remote and inattentive auditors hear and attend, by means of the full tone and musical sound of the voice.

In the lower part of the upper key of each person's voice, there is a peculiar, smooth, full and musical tone, which is the most expressive, and can be heard the farthest.

If this agreeable and effective tone be, at first, carefully cultivated on the upper part of the voice, the subsequent lessons will

develope it in the lower keys, and the student will be able finally to exhibit it on any key that is desirable.

This full and musical voice is essential for very large audi

ences.

It is only by using this quality of voice, that the speaker can proceed with ease. Any other will be disagreeable to the hearers, and tend to bring on a sore throat in the speaker.

The key of voice for an audience, depends on the distance of the more remote hearers from the speaker, (vide Whately's Rhet., Part IV.) The larger the audience, the higher must be the key. Vide p. 171.

For the same reason, the larger the audience, the slower (in an easy and sustained way) must be the utterance.

The vowels must be slightly prolonged, to favor the musical audibility, and make the tones of expression reach to a distance. For the same reason, emphatic words and pauses must be given with great prolongation.

Directions.-Imagine a large crowd present.

Stand erect, and with the body rising to its full height. Lean forwards-not from the hips, but from the foot on which the body rests.

Direct the arm in gesture, over the heads of the greater part of the audience, to those more remote. Let the hand be as high as the shoulder.

Keep the voice sustained in the key for the distance. Separate the groups of words, to allow of perfect ease in taking breath.

Prolong the words, and especially the emphatic ones. Do not strain or force the voice, but suffer it as it were, to flow of itself. It is indispensable that the delivery be easy and pleasant to the speaker himself.

When first beginning this practice, use a considerable degree of loudness.

In the case of most voices, this last direction is at first absolutely necessary for success, and this kind of discipline rapidly deepens and mellows the tone, till the voice becomes audible (as in a fine toned musical instrument) without loudness.

LESSON II.

SPIRITED ENUNCIATION.

Remarks. The previous lesson if practised without this, will in time, produce a sort of drawl, such as we often hear from those who speak in the open air. Vide p. 172.

Articulation, likewise, must be superadded to distinctness. The object should be, not only to attract distant or inattentive auditors by the sound of the voice, but to cause them to follow the speaker, syllable by syllable.

The hearers should be able to distinguish the words and syllables as clearly, as if they saw them printed in large characters and held up before them.

Directions.-Exhibit the qualities of the last lesson, but practise, in addition, a very forcible accent, and an energetic articulation of every letter.

Endeavor to compel attention, not merely to the general sense, but to every word that you utter.

LESSON III.

HARMONIOUS FLOW.

Remarks. As the first lesson, if exclusively practised, may in the end produce drawling and formality, so the second may lead to stiffness and a dry and labored style.

A spontaneous and captivating FLOW of thought and feeling must be cultivated.

This, philosophically stated, is musical rhythm, (the highest degree of which is exhibited in the recitation of lyrical poetry,)

but it is difficult in elocution to cultivate rhythm on musical principles. The following mode of practice will be certain to secure a flowing rhythm. The mode of practice corresponds with the true cause of rhythm, both in music and poetry.

Directions.-Use the full and musical voice. Proceed with a free and unhesitating FLuency.

Avoid all self-criticism, and abandon yourself to the pleasurable flow of impulse.

As you proceed, give yourself up wholly to the PLEASURABLE EXCITEMENT of hearty and flowing expression.

Observation.-A very common fault among public speakers, is a habit of intellectual hesitation. This is frequently supposed to proceed from defect of memory, or deficiency of ideas. It is in fact, generally, a mere habit of mind in delivery, and may readily be broken up by such exercises as those of this lesson.

LESSON IV.

BOLD EMOTION.

Remarks.-A manifestation of emotion sufficiently striking for a small audience, will appear uninteresting and tame before a large one.

Large audiences require that exhibitions of imagination and feeling be, as it were, on a large scale.

Directions.-Neglect the audience to some extent, and yield yourself up to your own thoughts and feelings.

Be perfectly fearless and indifferent as to any possible faults, and abandon yourself to unrestrained enthusiasm. Especially let this be the case on the most important words and passages.

The enthusiasm should be more meditative and soliloquizing, or more earnestly addressed to the audience, according to the character of the composition delivered.

LESSON V.

ABANDONMENT.

Remarks.-Among men of education, the chief impediment to eloquence, is the habit of self-criticism and distrust of themselves, at the time of speaking.

These habits of checking impulses, may prevent some faults, but generally destroy all positive excellence.

Take as a golden rule, NEVER TO WATCH AND criticise the DETAILS OF YOUR ELOCUTION, WHEN ACTUALLY Addressing aN AUDIENCE.

Directions.-Indulge in the most unrestrained emotion. Appeal triumphantly to the sympathies of the audi

ence.

The more boldly this is done, the greater will be the pleasure you will inspire.

Observation.-Never distrust your audience. Address them as human beings, who cannot but share the common sympathies of our nature,

JUNIOR YEAR, SECOND TERM.

SUBJECT OF STUDY.-Elevated Delivery. The eloquence of glowing thought. Delivery which elevates the minds of the auditors.

Remarks. It is the especial object of the present course of five lessons, to prepare students for speaking their own compositions.

From an imperfect knowledge of delivery, many are not aware, that any serious essay may be spoken in an elevated

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