The Canadian Elocutionist | Page 2

being unnaturally loud, and without acquiring a stilted delivery. I never knew an actor who brought the art of elocution to greater perfection than the late Charles Mathews, whose utterance on the stage was so natural, that one was surprised to find when near him that he was really speaking in a very loud key." Such are some of the testimonies to the value of this art.
Many persons object to the study of elocution because they do not expect to become professional readers or public speakers, but surely this is a great mistake, and they might as well object to the study of literature because they do not expect to become an author; and still more mischievous in its results is the fallacy, only too current even among persons of intelligence, that those who display great and successful oratorical powers, possess a genius or faculty that is the gift of nature, and which it would be in vain to endeavour to acquire by practice, as if orators "were born, not made," as is said of poets.
The art of reading well is one of those rare accomplishments which all wish to possess, a few think they have, while others who see and believe that it is not the unacquired gift of genius, labour to obtain it, and it will be found that excellence in this, as in everything else of value, is the result of well-directed effort, and the reward of unremitting industry. A thorough knowledge of the principles of any art will enable a student to achieve perfection in it, so in elocution he may add new beauties to his own style of reading and speaking however excellent they may be naturally. But it is often said "Our greatest orators were not trained." But is this true? How are we to know how much and how laborious was the preliminary training each effort of these great orators cost them, before their eloquence thrilled through the listening crowds? As Henry Ward Beecher says: "If you go to the land which has been irradiated by parliamentary eloquence; if you go to the people of Great Britain; if you go to the great men in ancient times; if you go to the illustrious names that every one recalls--Demosthenes and Cicero--they all represent a life of work. You will not find one great sculptor, nor one great architect, nor one eminent man in any department of art, whose greatness, if you inquire, you will not find to be the fruit of study, and of the evolution which comes from study." So much for the importance of Elocution and the advantages of acquiring a proficiency therein.
A few remarks to those who are ambitious of excelling in the art may now be given, showing how they may best proceed in improving themselves therein.
The following rules are worthy of strict attention:--1. Let your articulation be distinct and deliberate. 2. Let your pronunciation be bold and forcible. 3. Acquire a compass and variety in the height of your voice. 4. Pronounce your words with propriety and elegance. 5. Pronounce every word consisting of more than one syllable with its proper accent. 6. In every sentence distinguish the more significant words by a natural, forcible and varied emphasis. 7. Acquire a just variety of pause and cadence. 8. Accompany the emotions and passions which your words express, by corresponding tones, looks and gestures.
To follow nature is the fundamental rule in oratory, without regard to which, all other rules will only produce affected declamation not just elocution. Learn to speak slowly and deliberately, almost all persons who have not studied the art have a habit of uttering their words too rapidly. It should be borne in mind that the higher degrees of excellence in elocution are to be gained, not by reading much, but by pronouncing what is read with a strict regard to the nature of the subject, the structure of the sentences, the turn of the sentiment, and a correct and judicious application of the rules of the science. It is an essential qualification of a good speaker to be able to alter the height as well as the strength and the tone of his voice as occasion requires, so accustom yourself to pitch your voice in different keys, from the highest to the lowest; but this subject is of such a nature that it is difficult to give rules for all the inflections of the voice, and it is almost, if not quite impossible to teach gesture by written instructions; a few lessons from a good and experienced teacher will do more to give a pupil ease, grace, and force of action than all the books and diagrams in the world. Action is important to the orator, and changes of action must accord with the language; the