Читать книгу The Art of Public Speaking - The Original Classic Edition - Esenwein Dale - Страница 19

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All the activity of breathing must be centered, not in the throat, but in the middle of the body--you must breathe from the dia-

phragm. Note the way you breathe when lying flat on the back, undressed in bed. You will observe that all the activity then centers around the diaphragm. This is the natural and correct method of breathing. By constant watchfulness make this your habitual man-ner, for it will enable you to relax more perfectly the muscles of the throat.

The next fundamental requisite for good voice is

2. Openness

If the muscles of the throat are constricted, the tone passage partially closed, and the mouth kept half-shut, how can you expect the tone to come out bright and clear, or even to come out at all? Sound is a series of waves, and if you make a prison of your mouth, holding the jaws and lips rigidly, it will be very difficult for the tone to squeeze through, and even when it does escape it will lack force and carrying power. Open your mouth wide, relax all the organs of speech, and let the tone flow out easily.

Start to yawn, but instead of yawning, speak while your throat is open. Make this open-feeling habitual when speaking--we say make because it is a matter of resolution and of practise, if your vocal organs are healthy. Your tone passages may be partly closed by

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enlarged tonsils, adenoids, or enlarged turbinate bones of the nose. If so, a skilled physician should be consulted.

The nose is an important tone passage and should be kept open and free for perfect tones. What we call "talking through the nose" is not talking through the nose, as you can easily demonstrate by holding your nose as you talk. If you are bothered with nasal tones caused by growths or swellings in the nasal passages, a slight, painless operation will remove the obstruction. This is quite important, aside from voice, for the general health will be much lowered if the lungs are continually starved for air.

The final fundamental requisite for good voice is

3. Forwardness

A voice that is pitched back in the throat is dark, sombre, and unattractive. The tone must be pitched forward, but do not force it forward. You will recall that our first principle was ease. Think the tone forward and out. Believe it is going forward, and allow it to flow easily. You can tell whether you are placing your tone forward or not by inhaling a deep breath and singing ah with the mouth wide open, trying to feel the little delicate sound waves strike the bony arch of the mouth just above the front teeth. The sensation is so slight that you will probably not be able to detect it at once, but persevere in your practise, always thinking the tone forward, and you will be rewarded by feeling your voice strike the roof of your mouth. A correct forward-placing of the tone will do away with

the dark, throaty tones that are so unpleasant, inefficient, and harmful to the throat.

Close the lips, humming ng, im, or an. Think the tone forward. Do you feel it strike the lips?

Hold the palm of your hand in front of your face and say vigorously crash, dash, whirl, buzz. Can you feel the forward tones strike against your hand? Practise until you can. Remember, the only way to get your voice forward is to put it forward.

How to Develop the Carrying Power of the Voice

It is not necessary to speak loudly in order to be heard at a distance. It is necessary only to speak correctly. Edith Wynne Matthison's voice will carry in a whisper throughout a large theater. A paper rustling on the stage of a large auditorium can be heard distinctly

in the furthermost seat in the gallery. If you will only use your voice correctly, you will not have much difficulty in being heard. Of course it is always well to address your speech to your furthest auditors; if they get it, those nearer will have no trouble, but aside from this obvious suggestion, you must observe these laws of voice production:

Remember to apply the principles of ease, openness and forwardness--they are the prime factors in enabling your voice to be heard at a distance.

Do not gaze at the floor as you talk. This habit not only gives the speaker an amateurish appearance but if the head is hung forward the voice will be directed towards the ground instead of floating out over the audience.

Voice is a series of air vibrations. To strengthen it two things are necessary: more air or breath, and more vibration.

Breath is the very basis of voice. As a bullet with little powder behind it will not have force and carrying power, so the voice that has little breath behind it will be weak. Not only will deep breathing--breathing from the diaphragm--give the voice a better support, but it will give it a stronger resonance by improving the general health.

Usually, ill health means a weak voice, while abundant physical vitality is shown through a strong, vibrant voice. Therefore anything that improves the general vitality is an excellent voice strengthener, provided you use the voice properly. Authorities differ on most of the rules of hygiene but on one point they all agree: vitality and longevity are increased by deep breathing. Practise this until it becomes second nature. Whenever you are speaking, take in deep breaths, but in such a manner that the inhalations will be silent.

Do not try to speak too long without renewing your breath. Nature cares for this pretty well unconsciously in conversation, and she will do the same for you in platform speaking if you do not interfere with her premonitions.

A certain very successful speaker developed voice carrying power by running across country, practising his speeches as he went. The vigorous exercise forced him to take deep breaths, and developed lung power. A hard-fought basketball or tennis game is an efficient way of practising deep breathing. When these methods are not convenient, we recommend the following:

Place your hands at your sides, on the waist line.

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By trying to encompass your waist with your fingers and thumbs, force all the air out of the lungs.

Take a deep breath. Remember, all the activity is to be centered in the middle of the body; do not raise the shoulders. As the breath is taken your hands will be forced out.

Repeat the exercise, placing your hands on the small of the back and forcing them out as you inhale.

Many methods for deep breathing have been given by various authorities. Get the air into your lungs--that is the important thing. The body acts as a sounding board for the voice just as the body of the violin acts as a sounding board for its tones. You can in-

crease its vibrations by practise.

Place your finger on your lip and hum the musical scale, thinking and placing the voice forward on the lips. Do you feel the lips vibrate? After a little practise they will vibrate, giving a tickling sensation.

Repeat this exercise, throwing the humming sound into the nose. Hold the upper part of the nose between the thumb and forefin-

ger. Can you feel the nose vibrate?

Placing the palm of your hand on top of your head, repeat this humming exercise. Think the voice there as you hum in head tones. Can you feel the vibration there?

Now place the palm of your hand on the back of your head, repeating the foregoing process. Then try it on the chest. Always remember to think your tone where you desire to feel the vibrations. The mere act of thinking about any portion of your body will tend to make it vibrate.

Repeat the following, after a deep inhalation, endeavoring to feel all portions of your body vibrate at the same time. When you have attained this you will find that it is a pleasant sensation.

What ho, my jovial mates. Come on! We will frolic it like fairies, frisking in the merry moonshine.

Purity of Voice

This quality is sometimes destroyed by wasting the breath. Carefully control the breath, using only as much as is necessary for the production of tone. Utilize all that you give out. Failure to do this results in a breathy tone. Take in breath like a prodigal; in speaking, give it out like a miser.

Voice Suggestions

Never attempt to force your voice when hoarse.

Do not drink cold water when speaking. The sudden shock to the heated organs of speech will injure the voice.

Avoid pitching your voice too high--it will make it raspy. This is a common fault. When you find your voice in too high a range, lower it. Do not wait until you get to the platform to try this. Practise it in your daily conversation. Repeat the alphabet, beginning A on the lowest scale possible and going up a note on each succeeding letter, for the development of range. A wide range will give you facility in making numerous changes of pitch.

Do not form the habit of listening to your voice when speaking. You will need your brain to think of what you are saying--reserve your observation for private practise.

QUESTIONS AND EXERCISES

1. What are the prime requisites for good voice?

2. Tell why each one is necessary for good voice production.

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3. Give some exercises for development of these conditions.

4. Why is range of voice desirable?

5. Tell how range of voice may be cultivated.

6. How much daily practise do you consider necessary for the proper development of your voice?

7. How can resonance and carrying power be developed?

8. What are your voice faults?

9. How are you trying to correct them?

CHAPTER XIII VOICE CHARM

A cheerful temper joined with innocence will make beauty attractive, knowledge delightful, and wit good-natured.

--Joseph Addison, The Tattler.

Poe said that "the tone of beauty is sadness," but he was evidently thinking from cause to effect, not contrariwise, for sadness is rarely a producer of beauty--that is peculiarly the province of joy.

The exquisite beauty of a sunset is not exhilarating but tends to a sort of melancholy that is not far from delight The haunting beau-

ty of deep, quiet music holds more than a tinge of sadness. The lovely minor cadences of bird song at twilight are almost depressing.

The reason we are affected to sadness by certain forms of placid beauty is twofold: movement is stimulating and joy-producing, while quietude leads to reflection, and reflection in turn often brings out the tone of regretful longing for that which is past; second-ly, quiet beauty produces a vague aspiration for the relatively unattainable, yet does not stimulate to the tremendous effort necessary to make the dimly desired state or object ours.

We must distinguish, for these reasons, between the sadness of beauty and the joy of beauty. True, joy is a deep, inner thing and takes in much more than the idea of bounding, sanguine spirits, for it includes a certain active contentedness of heart. In this chapter, however the word will have its optimistic, exuberant connotation--we are thinking now of vivid, bright-eyed, laughing joy.

Musical, joyous tones constitute voice charm, a subtle magnetism that is delightfully contagious. Now it might seem to the desultory reader that to take the lancet and cut into this alluring voice quality would be to dissect a butterfly wing and so destroy its charm. Yet how can we induce an effect if we are not certain as to the cause?

Nasal Resonance Produces the Bell-tones of the Voice

The tone passages of the nose must be kept entirely free for the bright tones of voice--and after our warning in the preceding chapter you will not confuse what is popularly and erroneously called a "nasal" tone with the true nasal quality, which is so well illustrated by the voice work of trained French singers and speakers.

To develop nasal resonance sing the following, dwelling as long as possible on the ng sounds. Pitch the voice in the nasal cavity. Practise both in high and low registers, and develop range--with brightness.

Sing-song. Ding-dong. Hong-kong. Long-thong.

Practise in the falsetto voice develops a bright quality in the normal speaking-voice. Try the following, and any other selections you choose, in a falsetto voice. A man's falsetto voice is extremely high and womanish, so men should not practise in falsetto after the exercise becomes tiresome.

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She perfectly scorned the best of his clan, and declared the ninth of any man, a perfectly vulgar fraction.

The actress Mary Anderson asked the poet Longfellow what she could do to improve her voice. He replied, "Read aloud daily, joy-ous, lyric poetry."

The joyous tones are the bright tones. Develop them by exercise. Practise your voice exercises in an attitude of joy. Under the influence of pleasure the body expands, the tone passages open, the action of heart and lungs is accelerated, and all the primary conditions for good tone are established.

More songs float out from the broken windows of the negro cabins in the South than from the palatial homes on Fifth Avenue. Henry Ward Beecher said the happiest days of his life were not when he had become an international character, but when he was an unknown minister out in Lawrenceville, Ohio, sweeping his own church, and working as a carpenter to help pay the grocer. Happiness is largely an attitude of mind, of viewing life from the right angle. The optimistic attitude can be cultivated, and it will express itself in voice charm. A telephone company recently placarded this motto in their booths: "The Voice with the Smile Wins." It does. Try it.

Reading joyous prose, or lyric poetry, will help put smile and joy of soul into your voice. The following selections are excellent for

practise.

REMEMBER that when you first practise these classics you are to give sole attention to two things: a joyous attitude of heart and body, and bright tones of voice. After these ends have been attained to your satisfaction, carefully review the principles of public speaking laid down in the preceding chapters and put them into practise as you read these passages again and again. It would be bet-ter to commit each selection to memory.

SELECTIONS FOR PRACTISE FROM MILTON'S "L'ALLEGRO" Haste thee, Nymph, and bring with thee

Jest, and youthful Jollity,

Quips and Cranks and wanton Wiles, Nods and Becks, and wreathed Smiles, Such as hang on Hebe's cheek,

And love to live in dimple sleek,--

Sport that wrinkled Care derides,

And Laughter holding both his sides. Come, and trip it as ye go

On the light fantastic toe;

And in thy right hand lead with thee The mountain nymph, sweet Liberty: And, if I give thee honor due,

Mirth, admit me of thy crew,

To live with her, and live with thee, In unreproved pleasures free;

To hear the lark begin his flight, And singing, startle the dull Night From his watch-tower in the skies, Till the dappled Dawn doth rise; Then to come in spite of sorrow,

And at my window bid good-morrow Through the sweetbrier, or the vine, Or the twisted eglantine;

While the cock with lively din Scatters the rear of darkness thin, And to the stack, or the barn-door, Stoutly struts his dames before;

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Oft listening how the hounds and horn Cheerly rouse the slumbering Morn, From the side of some hoar hill, Through the high wood echoing shrill; Sometime walking, not unseen,

By hedge-row elms, on hillocks green,

Right against the eastern gate,

Where the great Sun begins his state,

Robed in flames and amber light,

The clouds in thousand liveries dight, While the plowman near at hand Whistles o'er the furrowed land,

And the milkmaid singing blithe, And the mower whets his scythe, And every shepherd tells his tale, Under the hawthorn in the dale. THE SEA

The sea, the sea, the open sea,

The blue, the fresh, the fever free; Without a mark, without a bound,

It runneth the earth's wide regions round; It plays with the clouds, it mocks the skies, Or like a cradled creature lies.

I'm on the sea, I'm on the sea, I am where I would ever be,

With the blue above and the blue below, And silence wheresoe'er I go.

If a storm should come and awake the deep, What matter? I shall ride and sleep.

I love, oh! how I love to ride

On the fierce, foaming, bursting tide, Where every mad wave drowns the moon, And whistles aloft its tempest tune,

And tells how goeth the world below, And why the southwest wind doth blow! I never was on the dull, tame shore

But I loved the great sea more and more, And backward flew to her billowy breast, Like a bird that seeketh her mother's nest,-- And a mother she was and is to me,

For I was born on the open sea.

The waves were white, and red the morn, In the noisy hour when I was born;

The whale it whistled, the porpoise rolled, And the dolphins bared their backs of gold; And never was heard such an outcry wild, As welcomed to life the ocean child.

I have lived, since then, in calm and strife, Full fifty summers a rover's life,

With wealth to spend, and a power to range, But never have sought or sighed for change: And death, whenever he comes to me,

Shall come on the wide, unbounded sea!

--Barry Cornwall.

The sun does not shine for a few trees and flowers, but for the wide world's joy. The lonely pine upon the mountain-top waves its

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sombre boughs, and cries, "Thou art my sun." And the little meadow violet lifts its cup of blue, and whispers with its perfumed breath, "Thou art my sun." And the grain in a thousand fields rustles in the wind, and makes answer, "Thou art my sun." And so God sits effulgent in Heaven, not for a favored few, but for the universe of life; and there is no creature so poor or so low that he may not look up with child-like confidence and say, "My Father! Thou art mine."--Henry Ward Beecher.

THE LARK

Bird of the wilderness, Blithesome and cumberless,

Sweet be thy matin o'er moorland and lea! Emblem of happiness,

Blest is thy dwelling-place:

Oh, to abide in the desert with thee!

Wild is thy lay, and loud, Far in the downy cloud,--

Love gives it energy; love gave it birth. Where, on thy dewy wing

Where art thou journeying?

Thy lay is in heaven; thy love is on earth. O'er fell and fountain sheen,

O'er moor and mountain green,

O'er the red streamer that heralds the day; Over the cloudlet dim,

Over the rainbow's rim,

Musical cherub, soar, singing, away! Then, when the gloaming comes, Low in the heather blooms,

Sweet will thy welcome and bed of love be! Emblem of happiness,

Blest is thy dwelling-place.

Oh, to abide in the desert with thee!

--James Hogg.

In joyous conversation there is an elastic touch, a delicate stroke, upon the central ideas, generally following a pause. This elastic touch adds vivacity to the voice. If you try repeatedly, it can be sensed by feeling the tongue strike the teeth. The entire absence of elastic touch in the voice can be observed in the thick tongue of the intoxicated man. Try to talk with the tongue lying still in the bottom of the mouth, and you will obtain largely the same effect. Vivacity of utterance is gained by using the tongue to strike off the emphatic idea with a decisive, elastic touch.

Deliver the following with decisive strokes on the emphatic ideas. Deliver it in a vivacious manner, noting the elastic touch-action of the tongue. A flexible, responsive tongue is absolutely essential to good voice work.

FROM NAPOLEON'S ADDRESS TO THE DIRECTORY ON HIS RETURN FROM EGYPT