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THE

BRITISH ORATOR:

COMPRISING

OBSERVATIONS ON VOCAL GYMNASTICS,

ARTICULATION, MELODY, MODULATION, FORCE,

TIME, AND GESTURE,

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LONDON :
SIMPKIN, MARSHALL, HAMILTON, KENT & Co., Stationers' Hall Court

MANCHESTER:
ABEL HEYWOOD & SON, 56 and 58 Oldham Street.

1901.

67

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PREFACE.

IT( 18 not necessary sthat a man should be a stammerers in order to be aware, from personal experience, of his imperfection in vocal utterance and speech. We are taught to read, sand sto express ourselves grammatically in conversation but how few learn suitable intonation, and a full and distinct utterance, by which speech obtains (much of its charm, and acquires often all its influence Graceful gestures in walking and dancing and in presenting one's self sin company, are thought by many to be of paramount importance ;( and hence, (as a matter of course, the majority of young persons (of both sexes (are placed under the direction fof a teacher of dancing. And yet, after all, what are the graces of mannerscompared to the melody of the voice ? and how imperfect the address) of the otherwise accomplished gentlemansor lady without fuly and mellifluous speech!| Nature here, (as in all that concerns seither bodily or mental endowmenty does, it is true, establish great differences amongst iudividuals. One person has naturally a musical voice as it is called ;| another a harsh pr somewhat dissonant one but still

, feducation possesses we also know fa great deal of plastic power ( and in no case lis the influence of physical education/more evident t than in the strength(which exercise gives to the muscles in general, and in the agility and grace which practicesimparts to the movements of the limbs as in the evolutions of the dance, and on the tight rope |&c. On the same principlexprecisely, without any charm, magic,for mystification, scan the muscles which,) by their successive (or alternate (and combinedlaction, give rise to voice and speech, be educated into strength and measured and harmonious

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