CHAPTER XVI PREPARATION FOR EXPRESSION BY VOICE The tones of human voices are mightier than strings or brass to move the soul. - KLOPSTOCK. The technical preparation of the speaker may mean much or little it depends upon his object. There is a sense in which mental preparation covers the whole of education; and so technical training in voice, attitude, and gesture may be made the subject of exhaustive study, or simply of daily common-sense practice. If you expect to become an actor or a dramatic reader, you must follow the teaching of the schools; but if you are resolved to be an attractive platform speaker, you must teach yourself. Does that mean that a teacher can do you no good? It means that he can do you no good unless you take his suggestions and become your own critic. You live with yourself, and so can hear yourself talk as often as you open your lips. Listen, and hear how your voice sounds. Cultivate what Nathan Sheppard calls the ear for your own voice." 1 66 The basis of the maxims which follow in this chapter is a very simple one, but it contains a world of meaning: 1 Before an Audience, p. 18. You must enthrone your will. Will-power will enable you to change your voice from a squeaking-machine into an instrument of power; it will enable you to make what tones you wish, how you wish, and when you wish. As soon think of having an unmanageable foot, that kicks and jerks when you least expect, as of having a recalcitrant voice, that goes up and down without consulting you. You cannot do this by trying to manage your voice only when you are speaking in public or rehearsing for a public effort. You must fail if you try that. Master your voice in conversation. What you habitually do well in private speech you will do well in public discourse. Oratory is not a dress-suit any more than are good manners neither the one nor the other can be donned for the occasion. Practice the succeeding exercises, not for effect, but to secure perfect control. Do not rest until you have made your voice so obedient that you will use the full, round, barytone in conversation as habitually as a good speaker uses it in oratory. This is the only way to secure power, flexibility, and naturalness. Whenever you speak, make your voice obey your will. The accompanying principles are not a system of elocution. That is not what you need. They are suggestions gleaned from many sources, all tested by years of use and all of no value unless you apply them under the domination of your will. Let your motto be, MY WILL SHALL CONTROL MY VOICE. 1. Hygiene of the Voice (1) Good health, sensible diet, and clean living are essential to a good voice. (2) Avoid patent medicines—consult a throat specialist if your throat is sore. (3) Use only cold water in bathing the neck, and throat. (4) Tight collars, alcoholics, narcotics, and sweetmeats will inflame a sensitive throat. 2. Breathing (5) Habitually breathe with the mouth closed; if you can't, find out why you can't.1 (6) Practice deep breathing.2 3. Elements of Expression (7) Vary the quality of the voice to suit the sentiment. PURE: EXAMPLES "Listen, my children, and you shall hear GUTTURAL: "Let the carrion rot!" (8) Vary the force of the voice so as to assist expression. 1 Habitual Mouth Breathing, Wagner. 2 Art of Breathing, Kofler. EXERCISES SOFT TO LOUD: I do NOT BELIEVE IT AT ALL! LOUD TO SOFT: NEVER WILL I consent ! Loud, Soft, Loud: HOW STRONG soever may be OUR DEMANDS. SOFT, LOUD, SOFT: Even though you ADMIT THIS absurd claim. A-WAY! A-WAY! (9) Vary the pitch of the voice to express shades of thought and feeling, and to avoid monotony. EXERCISES (Use your will, and so place your tone at any pitch you wish.) Say "Yes" so as to express (a) Contempt, (b) Conviction, (c) Uncertainty, (d) Tenderness, (e) Indignation, (ƒ) Other emotions. Try the same process with "No." See with how many different emotions you can pronounce the word "What," noting how you unconsciously vary the pitch. LAUGHING SURPRISE: Low: Is this the work of honest men? HIGH. No matter how he got it. This is absolutely wrong. (10) Vary the time to suit the spirit of the passage. EXERCISES SLOW: "I will lift up mine eyes unto the hills from whence cometh my help." HURRIED: Run quickly, and summon the guard! INCREASING: And do you dare to scorn me thus? BROKEN: I-a poor, decrepit man – reduced — to — beggary — am to become your — heir? MODERATE: These, then, are the considerations which should affect you. (II) Increase of time should generally be accompanied by increase of force, and variation of pitch (inflection). EXAMPLE TIME INCREASING : And do you DARE TO SCORN ME THUS? (12) When you decrease the time, lower the pitch. EXAMPLE SOLEMNLY: "I am | thy | father's | spirit." (13) Beware of monotony of either pitch or time -both must constantly change. |