for at least the space of half an hour. This custom was regularly practised whilst I was a scholar, and I followed it exactly after I became a master. [d] Quintilian's treatise upon pronunciation is short but excellent; and may be very useful to the masters, if they join with it that of [e] Tully. There is another in French, but in manuscript, which belonged to the famous [f] M. Lenglet, who excelled in the art of pronouncing still more than in other things. I shall make use of these different treatises in laying down the most general rules about pronunciation, and such as are most in use. [g] The answer of Demosthenes, when asked what he thought the chief point of eloquence, is known to all the world, and shews, that this great man looked upon pronunciation, not only as the most important qualification of an orator, but in a certain sense, as the only one. In short, it is that quality, which can least of all conceal its own defects, and is most capable of hiding others; and we often see, that a mean discourse delivered with all the force and charms of action has a better effect, than the most beautiful oration without them. Action consists of two parts, which are the voice and gesture, one of which strikes the ears, and the other the eyes; two senses by which we convey our sentiments and thoughts into the minds of the hearers, 1. Of the Voice. [h] Quintilian ascribes the same qualifications to the voice and pronunciation as to discourse. 1. It must be correct, that is, exempt from faults, so that the sound of the voice, and the pronunciation may have something easy, natural, and agreeable in it, [d] Lib. xi. cap. 3. [e] Lib. iii. de Orat. n. 213, 217. [ƒ] M. Lenglet had it of a famous actor in his time named Floridor. [g] Cic. lib. iii. de Orat. n. 132, [h] Emendata erit, id est vitio carebit, si fuerit os facile, emendatum, jucundum, urbanum: id est, in quo nulla neque rusticitas, neque peregrinitas resonet. Quint. accompanied accompanied with a certain air of politeness and delicacy, which the ancients called urbanity, and consists in removing from it every foreign and rustic sound. 2. The pronunciation must be clear, to which two things will contribute; first, the right articulation of every syllable; for sometimes some are suppressed, whilst others are but lightly touched upon. But the most common fault, and most carefully to be avoided, is the not dwelling long enough upon the last syllables, and letting the voice fall at the end of periods. [i] As it is necessary to express every word, nothing is more disagreeable or insupportable, than a slow and drawling pronunciation, which calls over, in a manner, all the letters, and seems to count them one after another. The second observation is to know how to sustain and suspend the voice by the different rests and pauses which enter into the same period. One instance will explain my meaning, which I shall take from another passage of [k] Quintilian. The points here express the pauses. Animadverti, judices,... omnem accusatoris orationem... in duas ... divisam esse partes. This short period contains but one sense, which is not to be distinguished by any comma, except at the word judices, which is an apostrophe; and yet the cadence, the ear, and even the breath, require different rests, in which all the harmony of pronunciation consists. By accustoming the scholars to make these pauses, as they read even where there are no commas, they will be taught at the same time to pronounce well. 3. An ornamented pronunciation is that which is assisted with an happy organ, an easy, loud, flexible, firm, durable, clear, sonorous, mild, and piercing voice. For there is a voice made for the ear; not so much by its compass, as by a facility of being managed at will, susceptible of every sound from the strong [i] Ut est autem necessaria verborum explanatio, ita omnes computare & velut annumerare literas, molestum & odiosum. est est to the softest, from the highest to the lowest, [ like an instrument well strung, which gives the sound the hand directs to express. Besides this, a great force of breath is required, and lungs capable of holding out through the longest periods, and of dwelling upon them. We do not make ourselves understood by violent and great pains, but by a clear and distinct pronunciation and the principal skill is shewn in artfully managing the different sallies of the voice, in begining with a tone, that may be raised or depressed without difficulty or constraint, and in so governing the voice, that it may be fully exerted in these passages, where the discourse requires great force and vehemence, and principally in studying and copying nature in every thing. The whole beauty of pronunciation lies in the union. of two qualities, to all outward appearance opposite and inconsistent, equality and variety. By the first, the orator sustains his voice, and governs the rise and fall of it by fixed rules, which hinder him from being high and low as if by chance, without observing any order or proportion. By the second, he avoids one of the most considerable faults in pronunciation, I mean a tedious keeping on in one and the same tone; and on the other hand, [m] he diffuses through it an agreeable variety, which wakens, raises, and charms his audience, herein [n] resembling the painters, who, by a vast number of shadows and colourings almost imperceptible, and an happy mixture of the light and shade, know how to set off their pictures and give them the just proportion which every part demands. Quintilian applies this last rule to the first period of the exordium of Tully's beautiful oration in defence of Milo. This passage deserves to be read to pupils. There is another fault no less considerable, which likewise comes very near it, and is that of singing what one speaks. This canting consists in depressing or raising with a like tone several members of a period, or several periods together; so that the same inflections of the voice frequently return, and almost constantly in the same manner. 4. Lastly, the pronunciation must be proportioned to the subjects expressed. This is more especially seen in the passions, which have [o] all, if I may be allowed the expression, a peculiar language, and a particular tone. For anger shews itself one way, compassion another, and so the rest. [p] To express them well, we must begin with having a deep sense of them, and to this end we should lively represent things to ourselves, and be affected with them, as if they actually passed in us. Thus the voice, as the interpreter of our sentiments, will easily convey the same disposition into the mind of the auditors, it has derived from our own conceptions. It is the faithful image of the soul; it receives all the impressions and changes that the soul itself is capable of. Thus in joy it is clear, full, and flowing; in sorrow, on the other hand, it is slow, dull and gloomy. Anger makes it rough, impetuous and interrupted. In the confession of a fault, making satisfaction, and entreating, it becomes smooth, fearful and submissive. In a word, it follows nature and borrows the tone of every passion. The voice also varies, and assumes different tones, according to the different parts of a discourse. It conforms itself to the difference of sentiments, and sometimes, though rarely, to the nature and force of certain particular expressions. [q] It would be evidently ridiculous, to begin a discourse all at once in a loud and violent strain; as nothing is more proper to gain upon others than modesty and reservedness. Narrations designed to interest the audience in the point related, require a simple, uniform, and calm voice, not much different from what we use in conversation, and so of all the rest. 2. Of Gesture. It Gesture naturally follows the voice, and conforms itself in like manner to the sentiments of the soul. is a mute language, but eloquent, and often has more force than speech itself. As the head has the first place among the parts of the body, it has it also in action. The first rule is to keep it up, and in a natural posture, the second to suit its motions to the pronunction and the action of the When we refuse or reject, or shew that we have an horror or execration of any thing or person, then at the same time that we repel with the hand, we turn aside the head as a mark of aversion. The countenance has a principal part in this point. There is a kind of motion or passion which it does not express. It threatens, it caresses, it entreats, it is sorrowful and merry, it is proud and humble, it testifies friendship towards some, and aversion to others, it gives us to understand abundance of things, and often says more than the most eloquent discourse could do. I never could comprehend how the use [r] of masks came to continue so long upon the stage of the ancients. For certainly it could not but suppress in a great measure the vivacity of action, which is principally seen in the countenance, and may properly be considered as the seat and mirror of all the sentiments of the soul. Does it not frequently happen that the [r] The actors wore marks, which covered the whole head, and besides the features of the face, represented the beard, the hair, the ears, and all the ornaments of the women's headdress. This may explain what Phædrus says in the fable of the mask and the fox: Personam tragicam fortè vulpes viderat, O quanta species! inquit: cerebrum non habet. blood, |