Page images
PDF
EPUB

or a pulpit, and takes his seat, and rises to address an assembly, which prejudices us either in his favor or against him. The moment an accomplished fencer makes a thrust, we perceive that he well understands the sword exercise. If the address of a speaker be good; if, morever, his countenance and general appearance be indicative of scholarship and intelligence, the presentation itself is a burst of eloquence.

To point out all the faults of which speakers and readers are guilty, would swell this work beyond the limits within which the author must be confined. If a person commences speaking immediately upon presenting himself before an audience, without first casting his eyes around respectfully on the members of it,-if his appearance and deportment are awkward, if he puts his hands into his pockets, plays with his watch-chain, and looks with great attention on a little piece of paper,-if he assumes an unmanly posture, if he makes his oratory itinerating by travelling alternately to the right and then the left,-if his eyes are fixed on one object, or are downcast, or partly closed,-if he tastes of a glass of water, and spits a few times,—if, in his gestures, he "saws the air,"-if all this, or any considerable part of it, be true of him, he may rest assured, that such faults, although they may be comparatively unimportant, will, nevertheless, create the belief with his hearers, that he is poorly qualified, either to instruct or amuse them, and also, that his habits are much "more honored in the breach than in the observance."

It is, undoubtedly, less difficult to speak negatively on the subject of gestures, than affirmatively; but there are certain general rules, from which an orator should seldom, if ever, depart. He should never begin a discourse immediately on presenting himself before an audience. His eyes should first be cast upon the members of it, with an air of respect. He should assume a dignified posture, and stand as firm as a rock, and yet as gracefully as a Chesterfield. His head must not be thrown back nor forward. His shoulders should neither be elevated nor drawn down. The right hand should be more frequently used than the left. Gestures should be made both from the elbow, and from the shoulder. They should not be made with the

fingers, but with the palm of the hand open. When the speaker points towards an object or a person, on the left of him, the left hand only should be used. The motion of both hands together, is often demanded by the sentiments or emotions of the orator.

Thoughts should be indicated by the countenance, and especially by the eye, before they are heard in words. Gesticulation should certainly precede or be used during the utterance of the words, it is intended to enforce. It should never be used subsequently to their utterance. And as Shakspeare says, " all should be done gently."

No speakers, except the practitioners of the histrionic art, should often close their hands or double up their fists. An incident is said to have occurred in the days of king James II., of England, which shows the ungracefulness of such a gesture. A clergyman, eminent for his talents and piety, who was honored with the attendance of the king, with the view of impressing upon the king's mind an important truth, fixed his attention upon him, and, doubling up his fist, struck upon the desk with great force, and exclaimed: "There! who dares to deny that?" "No one,' said king James, in a low voice, "that stands in reach of your fist."

A speaker should not stand perfectly straight; he should incline to the right and forwards. When he commences or finishes a discourse, both his arms should hang, as they naturally do, by the side. When gestures are made, in the course of a sermon or speech, by movements of the arm, the elbow ought to be kept at a distance from the body.

[ocr errors]

We learn how great the influence of gesture is, from the actor's art. Cicero justly observes, "that few can resist the effects, even of the moderate skill exhibited on the stage.' The effects produced by the accomplished and unequalled Garrick, were wonderful. The bishop of London inquired of him, how he could interest his hearers so much by mere fiction, as to effect them, even unto tears, when "I cannot," continued the bishop, "produce such effects upon my audience, with the most solemn realities of religion.' The shrewd and philosophic reply of Garrick was: "I represent fiction as though it were reality; and you, realityas though it were fiction."

66

99

Those automatical gestures which are sometimes taught, and that mechanical formality and intolerable affectation which are sometimes countenanced, in literary institutions, should be entirely and forever set aside. Excess in gestures, is to be avoided, as well as awkward ones. It is much better to have too little, than too much rhetorical action. The observations on gesticulation, will be concluded with an extract from Dr. Blair, who in one of his lectures on Delivery, says: "To superficial thinkers, the management of the voice and gesture in public speaking, may appear to relate to decoration only, and to be one of the inferior arts of catching an audience. But this is far from being the case. It is intimately connected with what is, or ought to be, the end of all public speaking, persuasion; and, therefore, deserves the study of the most grave and serious speakers, as much as of those whose only aim it is to please."

SELECT PIECES

FOR

EXERCISES IN ELOCUTION.

ELOCUTION.

1. A PEOPLE should be guarded against temptation to unlawful pleasures, by furnishing the means of innocent ones. There is an amusement, having an affinity with the drama, which might be usefully introduced among us-I mean elocution. A work of genius, recited by a man of fine taste, enthusiasm, and good elocution, is a very pure and high gratification.

2. Were this art cultivated and encouraged, great num. bers, now insensible to the most beautiful compositions, might be waked up to their excellence and power. It is not easy to conceive of a more effectual way of spreading a refined taste through a community. The drama undoubt edly appeals more strongly to the passions than recitation, but the latter brings out the meaning of the author more.

3. Shakspeare, well recited, would be better understood than on the stage. Then, in recitation, we escape the weariness of listening to poor performers, who, after all, fill up most of the time at the theatre. Recitation, sufficiently varied, so as to include pieces of chaste wit, as well as of pathos, beauty and sublimity, is adapted to our present intellectual progress, as much as the drama falls below it.

4. Should this exhibition be introduced among us successfully, the result would be, that the power of recitation

« EelmineJätka »