SECTION III. IMITATIVE READING. The extent to which imitative reading, or the suiting of sound to sense, may properly be carried, in certain classes of selections, is a matter in regard to which there is a diversity of opinion among elocutionists. It is one of those questions of taste that cannot be regulated by definite directions applicable to all cases. Some general principles, however, may be laid down, from which there is no intelligent dissent. The style of reading should be imitative in the sense of making it conform to the spirit and meaning of the piece. In the utterance of words in which the sound seems to approximate to the sense, such as buzz, hiss, thunder, groan, sigh, scream, etc., the tone may be suggestive of the idea. Thus, in reading such passages as, "From his lips escaped a groan," though an actual groan would be ridiculous, the word "groan" may be uttered so as to suggest a groan. EXAMPLES. 1. Hear the loud alarum bells-brâzen bells. 2. Clang! clang! the massive anvils ring. 3. Blow, bugle; answer echoes, dying, dying, dying. 4. Oh the bells! what a tale their terror tells Of despair! How they clang, and clash, and roar, What a horror they outpour On the bosom of the palpitating air! Wherever the author distinctly suggests an imitation, it should be given so far as is consistent with good taste. Thus, when Longfellow writes, "And loud that clarion voice replied," it is evident that the refrain, "Excelsior!" should be given in a loud, clear, resonant manner. EXAMPLES FOR PRACTICE. 1. A voice replied far up the height, "Excelsior!" 2. She seemed in the same silver tones to say, "Passing away, passing away!" 3. What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking, "Nevermore." 6. BUNKER HILL. How the bayonets gleamed and glistened, as we looked far down and listened To the trampling and the drum-beat of the belted grenadiers. Over heaps all torn and gory-shall I tell the fearful story, How they surged above the breastwork as a sea breaks o'er a deck; How, driven, yet scarce defeated, our worn-out men retreated,. With their powder-horns all emptied, like the swimmers from a wreck! HOLMES. Imitation should not be too literal. The attempt is sometimes made in reading Tennyson's "Bugle Song," to give a realistic imitation of the notes of a bugle. While the professional reader may attempt such a feat of vocal gymnastics, it is certainly outside of the limits of good taste in school reading. The words, "Blow, bugle, blow," may be given with a prolonged swell, and in a thin, clear, pure tone, so as to suggest the bugle note. So in reciting Poe's "Bells," the imitative rendering is often carried to a ridiculous extreme. In these and similar cases it is not a literal reproduction of the sound that should be attempted, but an artistic and idealized suggestion of it. EXAMPLES. 1. And grummer, grummer, grummer, And rounder, rounder, rounder, 2. I hear them marching o'er the hill; 3. CHURCH BELLS. "In deeds of love, excel! excel!" "O heed the ancient landmarks well!" "Ye purifying waters swell!" In mellow tones rung out a bell. 4. WHEN THE COWS COME HOME. When klingle, klangle, klingle, The cows are coming home; Now sweet and clear, now faint and low, The airy tinklings come and go, Like chimings from the far-off tower, Or patterings of an April shower 5. CHARCOAL. And thus from morn to eve he cried, While echo faint and far replied, And in a coaxing tone he cries, And baby with a laugh replies, See the red flames leaping higher. Peal! peal! peal! Bells of brass and bells of steel. Crash! crash! crash! Fire! fire! fire! 7. EXCELSIOR. And like a silver clarion rung—“ Excelsior!” 8. THE BELLS. Hear the sledges with the bèlls-silver bells! What a world of mèrriment their melody foretells! Hear the mellow wedding bells-golden bells! Hear the loud alàrum bells-brâzen bells! Hear the tolling of the bells-îron bells! What a world of solemn thought their monody compels! POE. SECTION IV. EXERCISES IN MODULATION. Modulation is the variation of voice according to the sentiment, thought, or emotion to be expressed. In impassioned reading, tones are the most prominent qualities of voice. Thorough drill on the following examples will break up the tendency of pupils to read all kinds of selections in one formal "school-tone." It is left for teachers and pupils to exercise their own judgment and taste in the rendering of these extracts, which embrace a wide range of expression. EXAMPLES. 1. Blow, bugle, blow, set the wild echoes flying, Blow, bugle, answer echoes, dying, dying, dying. 2. The loud wind dwindled to a whisper low. 3. There is a silence where no sound may be. 4. I hear them marching o'er the hill, I hear them fainter, fainter still. 5. "Cusha, cusha, cusha," calling. 6. To arms! to arms! to arms! they cry. 7. Arm! arm!—it is—it is the cannon's opening roar. 8. Advance your standards, draw your willing swords! |