CHAP. II.

Artificial and Natural Methods compared.

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Reading.

WITH a view to Perspicuity then, the first requisite in all Delivery, viz. that quality which makes the meaning fully understood by the hearers,

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the great point is, that the Reader (to confine our attention for the present to that branch) should appear to understand what he reads. If the composition be, in itself, intelligible to the persons addressed, he will make them fully understand it, by so delivering it. But to this end, it is not enough that he should himself actually understand it: it is possible, notwithstanding, to read it as if he did not. And in like manner with a view to the quality, which has been here called Energy, it is not sufficient that he should himself feel, and be impressed with the force of what he utters; he may, notwithstanding, deliver it as if he were unimpressed.

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The remedy that has been commonly proposed for these defects, is to point out in such

Sheridan.

a work, for instance, as the Liturgy, which words ought to be marked as emphatic, in what places the voice is to be suspended, raised, lowered, &c. One of the best writers on the subject, Sheridan, in his "Lectures on the Art of Reading," *

* See note, Ch. I. § 3. It is to be observed, however, that most of the objections I have adduced do not apply to this or that system in particular; to Sheridan's, for instance, as distinguished from Walker's; but to all such systems generally; as may be seen from what is said in the present section.

(whose remarks on many points coincide with the principles. here laid down, though he differs from me on the main question as to the System to be practically followed with a view to the proposed object,) adopted a peculiar set of marks for denoting the different pauses, emphases, &c., and applied these, with accompanying explanatory observations, to the greater part of the Liturgy, and to an Essay subjoined ; recommending that the habit should be formed of regulating the voice by his marks; and that afterwards readers should “write out such parts as they want to deliver properly, without any of the usual stops; and, after having considered them well, mark the pauses and emphases by the new signs which have been annexed to them, according to the best of their judgment," &c.

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To the adoption of any such artificial scheme there are three weighty objections; first, that the proposed system must necessarily be imperfect; secondly, that if it were perfect, it would be a circuitous path to the object in view; and thirdly, that even if both those objections were removed, the object would not be effectually obtained.

Imperfection

of the artificial

system.

vented

First, such a system must necessarily be imperfect; because though the emphatic word in each sentence may easily be pointed out in writing, no variety of marks that could be in

- not even musical Notation † - would suffice to indicate the different tones in which the different emphatic words should be pronounced; though on this depends fre

* See Appendix, [N].

† And even in Music, the Notation, though so much more complete han any that could be adapted to Speaking, yet leaves much to be supplied by the intelligence, taste, and feeling of the performer.

See first note, Ch. I. § 3.

quently the whole force, and even sense of the expression. Take, as an instance, the words of Macbeth in the witches' cave, when he is addressed by one of the Spirits which they raise," Macbeth! Macbeth! Macbeth!" on which he exclaims, "Had I three ears I'd hear thee; no one would dispute that the stress is to be laid on the word " three;” and thus much might be indicated to the reader's eye; but if he had nothing else to trust to, he might chance to deliver the passage in such a manner as to be utterly absurd; for it is possible to pronounce the emphatic word "three," in such a tone as to indicate that "since he has but two ears he cannot

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hear." Again, the following passage, (Mark iv. 21,) “Is a candle brought to be put under a bushel, or under a bed," I have heard so pronounced as to imply that there is no other alternative and yet the emphasis was laid on the right words. It would be moreover a task almost equally hopeless to attempt adequately to convey, by any written marks, precise directions as to the rate, the degree of rapidity or slowness, with which each sentence and clause should be delivered. Longer and shorter pauses may indeed be easily denoted; and marks may be used, similar to those in music, to indicate, generally, quick, slow, or moderate time; but it is evident that the variations which actually take place are infinite far beyond what any marks could suggest; and that much of the force of what is said depends on the degree of rapidity with which it is uttered; chiefly on the relative rapidity of one part in comparison of another. For instance, in such a sentence as the following, in one of the Psalms, which one may usually hear read at one uniform rate; "All men that see it shall say, This hath God done; for they shall perceive that it is his work;" the four words, "this hath God done," though monosyllables, ought to occupy very

little less time in utterance than all the rest of the verse

together.

Circuitousness of the artificial system.

2ndly, But were it even possible to bring to the highest perfection the proposed system of marks, it would still be a circuitous road to the desired end. Suppose it could be completely indicated to the eye, in what tone each word and sentence should be pronounced according to the several occasions, the learner might ask, "But why should this tone suit the awful, — this, the pathetic, — this, the narrative style ? why is this mode of delivery adopted for a command, — this, for an exhortation, this, for a supplication?" &c. The only answer that could be given, is, that these tones, emphases, &c. are a part of the language ; that nature, or custom, which is a second nature, suggests spontaneously these different modes of giving expression to the different thoughts, feelings, and designs, which are present to the mind of any one who, without study, is speaking in earnest his own sentiments. Then, if this be the case, why not leave nature to do her own work? Impress but the mind fully with the sentiments, &c. to be uttered; withdraw the attention from the sound, and fix it on the sense; and nature, or habit, will spontaneously suggest the proper delivery. That this will be the case, is not only true, but is the very supposition on which the artificial system proceeds; for it professes to teach the mode of delivery naturally adapted to each occasion. It is surely, therefore, a circuitous path that is proposed, when the learner is directed, first to consider how each passage ought to be read;- i. e. what mode of delivering each part of it would spontaneously occur to him, if he were attending exclusively to the matter of it (and this is what, it appears to me, should alone be studied, and most attentively studied); - then,

to observe all the modulations, &c. of voice, which take place in such a delivery; then, to note these down, by established marks, in writing; and, lastly, to pronounce according to these marks. This seems like recommending, for the purpose of raising the hand to the mouth, that he should first observe, when performing that action without thought of any thing else, what muscles are contracted,- in what degrees, - and in what order; then, that he should note down these observations; and lastly, that he should, in conformity with these notes, contract each muscle in due degree and in proper order; to the end that he may be enabled, after all, to - lift his hand to his mouth; which by supposition he had already done. Such instruction is like that bestowed by Molière's pedantic tutor upon his Bourgeois Gentilhomme, who was taught, to his infinite surprise and delight, what configurations of the mouth he employed in pronouncing the several letters of the alphabet, which he had been accustomed to utter all his life, without knowing how.*

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Appearance affectation resulting from the artificial sys

tem.

3. Lastly, waiving both the above objections, if a person could learn thus to read and speak, as it were, by note, with the same fluency and accuracy as are attainable in the case of singing, still the desired object of a perfectly natural as well as correct Elocution, would never be in this way attained. The reader's attention being fixed on his own voice, (which in singing, and there only, is allowed and expected,) the inevitable consequence would be that he would betray more or less his studied and artificial Delivery; and would, in the same degree, manifest an offensive affectation.

O!"

*"Qu'est-ce que vous faites quand vous prononcez O? Mais, je dis, - an answer, which, if not savoring of Philosophical analysis, gave at least a good practical solution of the problem.