Imatges de pàgina
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with drought, the voice will be harsh and rough. Now, all excesses, as well as some bodily indispositions, are apt to affect the organs in one or other of these ways.

A strong voice is very serviceable to an orator, because, if it want some other advantages, he is however capable of making himself heard. And if at any time he is forced to strain it, he is in less danger of its failing him, before he has finished his discourse. But he who has a weak voice should be very careful not to strain it, especially at first. He ought to begin low, and rise gradually to such a pitch as the key of his voice will carry him, without being obliged to sink afterwards. Fre quent inflections of the voice will likewise be some assistance to him. But especially, he should take care to speak deliberately, and ease his voice, by allowing due time for respiration at all the proper pauses. It is an extreme, much less inconvenient for such a person, rather to speak too slow, than too fast. But this defect of a weak voice is sometimes capable of being helped by the use of proper methods; as is evident from the instance of Demosthenes, before mentioned.

A voice is said to be clear, when the organs of speech are suited to give all the different letters, and all the combinations of them in syllables and words, their proper and distinct sounds. Such a voice is very pleasing and agreeable to the hearers, and no less a happiness to the speaker, as it saves him a great expense of spirits. For a moderate voice, if clear, will be as distinctly heard, as one much louder, if thick and obscure. This is a great advantage to the speaker, because he can better keep his voice under command, and modulate it at pleasure, as the several parts and circumstances of his discourse may require. On the contrary, an obscure and confused voice is not always occasioned from a deficiency in the organ, but frequently is the effect of custom and a bad habit. Some persons, either from want of due care in their education at first, or from inadvertency and negligence afterwards, run into a very irregular and confused manner of expressing their words; either by misplacing the accent, confounding the sound of the letters, or huddling the syllables one upon another, so as to render what they say often unintelligible. Indeed, sometimes this arises from a na

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tural defect, as in the case of Demosthenes; who found a method to rectify that, as well as the weakness of his voice. But in faults of this kind, which proceed from habit, doubtless the most likely way to mend them is to speak deliberately.

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A full voice is neither the same as a strong nor as a loud voice. It fills the car, but it is often not pleasant. And therefore, to render it so, as well as audible, it should be frequently varied. However, this seems better suited to the character of an orator than a small and shrill voice, because it has something in it more grave and manly. And those who have the misfortune of a very small voice should be cautious of raising it to too high a pitch, especially at once; because the sudden compressure of the organ is apt to occasion a squeaking and very disagreeable sound.

A soft and smooth voice is of all the most musical, especially if it be flexible. And on the contrary, nothing is less harmonious than a voice that is harsh and rough. For the one grates as disagreeably upon the ear, as the other gives it pleasure and delight.

From the consideration of these several properties of the voice, we may conclude that to be the fittest for an orator, which is moderate, distinct, firm, clear, and smooth, and withal easily flexible to the several degrees and variations of sound, which every part of the dis .course may require.

PART III..........OF GESTURE.

By this is meant, a suitable conformity of the motion

of the countenance, and several parts of the body, in public speaking, to the subject and design of the discourse. The word gesture is here used in a larger sense then it is ordinarily employed in common language. For we rarely make use of that word to denote the motions of the countenance, or any parts of it; but as these make a considerable part of our present subject, they must here be comprehended under this term.

It is not agreed among the learned whether voice or gesture has the greater iufluence upon us. But, as the

latter affects us by the eye, as the former does by the ear, gesture, in the nature of it, seems to have this advantage, that it conveys the impression more speedily to the mind; for sight is the quickest of all our senses. Nor is its influence less upon our passions; nay, in some instances, it appears to act more powerfully. A cast of the eye shall express desire in as moving a manner, as the softest language; and a different motion of it, resentment. To wring the hands, tear the hair, or strike the breast,' are all strong indications of sorrow. And he who claps his hand to his sword throws us into a greater panic, than one who only threatens to kill us. Nor is it in some respects less various and extensive than language. Cicero tells us, that he often diverted himself by trying this with Roscius, the comedian, who could express a sentence as many ways by his gestures, as he himself by words. And some dramas have been conducted wholely by mutes, who have performed every part, by gestures only, without words, in a way very intelligent as well as entertaining to the spectators. Well, therefore, might Cicero call action or gesture, "The language of the body," since it is capable, in so lively a manner, of conveying both our ideas and passions. But with respect to oratory, gesture may very properly be called the second part of pronunciation; in which, as the voice should be suited to the impressions it receives from the mind, so the several motions of the body ought to be accommodated to the various tones and inflections of the voice. When the voice is even and 'moderate little gesture is required, and nothing is more unnatural than violent motion in discoursing on ordinary and familiar subjects. The motions of the body should rise, therefore, in proportion to the vehemence and energy of the expression, as the natural and general effect of it.

But as gesture is very different and various as to the manner of it, which depends upon the decent conduct of several parts of the body, it will not be amiss to consider more particularly, the proper management of each of those parts. Now all gesture is either natural or from imitation. By natural gesture we mean such actions and motions of the body as naturally accompany our words, as these do the impressions of our minds. And these either respect the whole body, or some particular part of

it. But before we enter upon these, give us leave just to, observe, that it has been customary in all ages and countries, in the making a set discourse before an assembly, to do it standing. Thus we read, that "Abraham stood up, and spake unto the children of Heth." And it seems as if he sat down, when he had ended his speech, because immediately after the account of their answer, it is said again, that "Abraham stood up and bowed himself to the people of the land, the children of Heth." In like manner Homer represents the Grecian princes as standing up, when they made a speech, either to the army or in their councils. So when Achilles has assembled the army, to enquire into the reason of the great plague, which at that time raged among them, he rises up before he begins to speak, and sits down again when he has done. After him the prophet Calchas rises and charges it upon Agamemnon, who rising up in a passion, does not refuse to comply with what Calchas proposed, but expresses his resentment at him for saying it. And upon another occasion, both Agamemnon and Nestor do the same in council. And Cicero acquaints us that, when. Lentulus had been charged in the senate, as an associate with Cataline, he stood up to make his defence. Nor does the advantage of being better heard, seem to have been the only reason for so general an agreement in this posture; but it appears likewise to have been chosen, as the most decent and respectful. Sitting carries, with it an air of authority, and is, therefore, a posture scarcely ever used upon such occasions, unless perhaps where that is intended to be expressed by it. Wherefore it was a thing very much resented, that, when Cæsar, after he had taken the supreme power into his own hands, being once to address the senate, either refused to rise, as some say, or as others, one of his friends held him down by his gown.

But though standing appears to be the most proper posture for speaking in public, yet it is very unbecoming for the body to be entirely without motion like a statue. It should not long continue in the same position, but be constantly changing, though the motion be very moderate. There ought to be no appearance of stiffness, but a certain case and pliableness, naturally suiting itself to every expression, by which means, when a greater degree of motion is necessary, it will appear less sudden and vehe

ment. For as rising, sinking, and various inflections of the voice must be gradual, so likewise should the motions

of the body. It is only on some particular occasions that an hasty vehemence and impetuosity is proper in either

case.

As to the several parts of the body, the head is the most considerable. To lift it up too high has the air of arrogance and pride; to stretch it out too far, or throw it back, looks clownish and ill-bred; to hang it downwards on the breast shews an unmanly bashfulness and want of spirit; and to suffer it to lean on either shoulder argues sloth and indolence. Wherefore in calm and sedate dis courses it ought to keep its natural state and upright pos ture. However it should not be long without motion, nor yet always moving; but gently turn, sometimes on one side, and sometimes on the other, as occasion requires, that the voice may be heard by all who are present, and then return again to its natural position. It should always accompany the other actions of the body, and turn on the same side with them; except when aversion to any thing is expressed, which is done by stretching out the right hand and turning the head to the left. The ancients erected a statue of Venus in this posture, who was called by the Greeks årsgopia, and by the Latins Verticordia, and in English may be termed the forbidding VeBut nothing is more indecent than violent motions and agitations of the head. And, therefore, when a witty writer, who is well known among us, would convey the most ridiculous idea of a pretender to knowledge, he expresses it thus

nus.

:

"For having three times shook his head,
To stir his wit up, thus he said."

HUDIB.

But it is the countenance that chiefly represents both the passions and dispositions of the mind. By this we. express love, hatred, joy, sorrow, modesty, and confi dence; by this we supplicate, threaten, sooth, invite, forbid, consent, or refuse; and all this without speaking. Nay, from hence we form a judgment not only of a per son's present temper, but of his capacity and natural disposition. And therefore it is common to say, ❝ Such an one has a promising countenance, or that he promises

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