and is generally developed upon one syllable or word. The Bend is a slight turn of the voice upward at a pause of imperfect sense; it gives life and anima- Rising Slide is the gradual rise to the key, or to a point near the key Fig. 17.-ADORATION. preparatory to the perfect close. The Perfect Close is a fall of the voice at the end of a sentence to a point generally below the key. FORCE or emphasis is a particular stress or force of voice given to one or more important words in a sentence; as a general rule, force is placed upon the word, or words, which, more than others, express the idea to be conveyed. STRESS, according to Dr. Rush, is but the rendering of Force perceptible or impressive in single sounds. There are properly three kinds—the Radical, the Median, and the Increasing. The Radical is generally explosive, and falls on the first part of a sound. The Median is also generally explosive, and swells out toward the middle of a sound, and vanishes toward the close. The Increasing, effusive at first, increases till the last moment of the sound, and ends with the explosive. RATE must necessarily vary with the nature of the thought the tendency of, American speakers is to un due rapidity. Slow rate should generally be practiced, because the speaker or reader has the air of self-posession, can enunciate distinctly, and has in reserve the power to increase the rate where the nature of the sentence may demand it. STYLE. The student should never attempt to deliver any selection until he first ascertains to what style it belongs. If it be 1. Argumentative, he must deliv er it as if debating, therefore earnest; 2. Descriptive, he must deliver it as if actually describing some scene; 3. Persuasive, he must use those Fig. 18. CURSING. looks, tones, and gestures appropriately used in persuasion. PASSION. The student should always have his mind so wrought up to the proper pitch in which the Passion should be rendered, that he may with ease be able to deliver it correctly. Great actors, before appearing in the character they are to personify, through force of will work their minds up to the degree of passion required, and thus appear perfectly lifelike. Elocutionists, also, in exhibiting some vehement passion to a class, have brought their mind up to such a pitch of frenzy as to be several hours in overcoming effects. Students GESTURE.-Oratory without proper gesture loses half its charm. The ancient Greeks and Romans attached great importance to gesture. Their rhetoricians taught their pupils as well graceful gestures, as how to manage their voices. He who gestures spontaneously, conforms to his subject, and who in other respects, is truly eloquent, can, in the most effectual manner, make himself a master of other men's minds. Such an orator has power "to stir a fever in the blood of age, and make an infant's sinews strong as steel." Gesture should be used only when it will aid in expressing more forcibly, and to be appropriate and impressive, must always be natural; excess in gestures is to be avoided as well as awkward ones. The following rules have been given by one who has given much thought to this subject and will be found of great value to the student, taken in connection with the illustrations contained in this article. Fig. 19.-RESOLUTION. I. «The gesture, employed most frequently, is the movement used in handing a book or other article to a friend, and the delivery of an oration is simply the presentation of ideas to an audience. "POSITION OF THE HAND.-The hand open, the first finger straight, the other slightly curved, ard generally the Fig. 20.-ADMIRATION palms of the hands open toward the audience, so that they may be seen by the audi ance. "2. The Argumentative gesture may, and should be, used most frequently in debate and argumentative decla mation. "POSITION OF THE HANDS.-First finger straight, the others closed, or nearly so. "This gesture is very useful in earnest debate, as it was often remarked of Clay that the argument seemed to drop from the ends of his fingers. These gestures are of great value in any discourse. "3. The Fist, sometimes called the sledge-hammer' gesture, should be used in the expression of the most earnest, powerful, moving sentiments, where strong arguments are to be brought out with telling effect. This gesture was a favorite one with Daniel Webster; and in those memorable debates with Hayne in the United States Senate, he is said to have riveted his arguments with the force of a giant when at every appropriate place he brought down his sledge-hammer' gesture. "Save in debate and argumentative orations, gesture should seldom be used, except when referring to some object in nature. "I. When referring to the earth covered with snow, to withering famine, to desolation in whatever respect, or when referring to death or hell, always have the palm of the hand downward, and the arm raised but slightly from the body. II. "When referring to the earth robed in green, to the trees and flowers in bloom, to life or to abundance, always have the palm of the hand upward, and oftent raised as high as the head. "In all cases be careful to complete the gesture where it is intended at the instant of uttering the syllable or word; for if it comes in before or lags behind the word, it will certainly detract from the effect." POSITION OF THE BODY.-A speaker should not stand perfectly erect, only when he is expressing Fig. 21.-REGRET. courage, fortitude, firmness of purpose, etc. of the body should be a little inclined to the audience, yet nearly in an erect position, that the chest may be fully expanded and an easy play given to the organs of respiration and utterance. THE WEIGHT OF THE BODY.-Grace and dignity depend much on the position of the feet and lower limbs. The weight of the body should be thrown upon one |