HOW CAN I BECOME A DISTINCT
SPEAKER?

A satisfactory answer to this question must be of great practical value to every lover of good reading and good speaking.

As indistinctness is the prominent fault of public address, so the discovery of a remedy for indistinctness must be to the majority of speakers the most desirable and most useful knowledge. It is a very general belief that indistinctness is a personal disability which can be only partially removed, and that it will ever continue as a hindrance to the public success of the unfortunate individual. The truth is, however, that any person of even feeble and imperfect articulation may become a distinct speaker. A notable case came under my observation and care a few years since. A minister who had been relieved from work because of indistinctness, applied to me for instruction. I found that he had been tormented by his brethren with some such general advice as this: "Speak distinctly." "Do not run your words together," etc. The poor man was not able to profit by such indefinite criticism. He had never been trained to use his articulative organs, and, as is sometimes the case, had become more indistinct in his enunciation during the four years of his ministry. He was helpless, discouraged, brokenhearted; but at the end of two months' practice in the correct and vigorous use of his tongue, teeth, and lips, he went back to work a moderately distinct speaker. He continued to improve, and is now one of the most distinct speakers and one of the most successful ministers in his denomination. I cite this case for the encouragement of all who may be similarly afflicted, and to add. emphasis to what follows.

It is not personal endowment that enables one man to speak more distinctly than another, but simply industry. Genius plays a very small part in the acquisition of a distinct utterance. It is work, intelligently directed and persistently pursued, that masters the difficulties and secures the desired results.

The distinct pronunciation of words depends entirely on a

nimble use of the tongue, teeth, lips, and palate. Sound is made in the glottis, and when it reaches the mouth, the tongue, teeth, and lips form it into syllables and words. Now, any exercise which will give the pupil an energetic and rapid use of these organs of articulation will certainly insure distinctness.

Great care, time, and expense are lavished on the rudimentary training of the tyro in piano playing. Weeks, months, and years are given up to exercises to develop strength and dexterity in the use of the fingers, hands, and wrists of the young performer; and yet in ordinary articulation we use our tongue, teeth, and lips as rapidly as the pianist uses his fingers, and expect distinctness in speaking without any preliminary practice. Careful and continued practice in articulation by all public speakers is as necessary as the constant and laborious practice of the piano player to secure perfect technique in playing.

No one knows so well as the painstaking public speaker the truth of the above statement. The fear of indistinctness haunts him in every public effort, and keeps him keyed up to the most exacting demands of his audience. Since indistinctness may be overcome by industry, he can never forgive himself if he falls a victim to his own easy indifference. And it is well that this burden should be laid on all public speakers, for surely nothing is more irritating to an audience than a slipshod, mumbling utterance. Not only is the time of the hearers wasted while listening to such a speaker, but they are, through sympathy for the unfortunate man, subjected to a gratuitous persecution.

I wish to indicate a system of practice which, if diligently pursued, will give the pupil such strength and dexterity in the use of the articulative organs that indistinctness will be impossible.

TABLE OF CONSONANT SOUNDS

Arranged with reference to the organs by which they are formed

The First Step in the practice is the mastery of the consonantal elements. The correct pronunciation of the vowel sounds secures elegance and refinement in speech, but distinctness in utterance depends entirely upon the rapid and energetic articulation of the consonants.

A definite knowledge of the position of the tongue, teeth and lips is essential to the accurate production of these consonantal sounds.

The subtonic b is made by a firm compression of the lips. The vocal resonance, which is heard in the interior of the head and mouth, reaches a maximum when the lips are suddenly opened. Pronounce the word babe and pronounce the final b until the sound of the consonant is distinctly apprehended.

The subtonic m is made by a gentle compression of the lips which forces the vocal resonance through the nostrils. Prolong the final consonant in the word maim.

The atonic is formed with the organs in the same position as in making b. The lips are intensely compressed, and the maximum of pressure is followed by an aspirated explosion. Pronounce the word pipe and execute with special force the final consonant.

The subtonic w is the sound of oo, with a slight breathing before the vowel. Let the lips be rounded as in pronouncing oo, and then draw the lips closer to the teeth, and contract the labial aperture as in whistling. The word woe is suggested for practice, woe w+o. Make the sound of w, then of o, and then blend them.

The diagraph wh is regarded by Bell as a whispered form of w. In forming it, the lips are closely approximated, and then rapidly separated. Pronounce the word when, and endeavor to get the initial sound.

The subtonic v is made by placing the ridge of the under lip against the edges of the upper teeth, and forcing the vocalized breath between the teeth. Care should be taken to raise the upper lip in order to prevent its interfering with the upper front teeth. The word valve is suggested for practice.

The aspirate f is the cognate of v, and is made in the same manner, with this difference only, that the lip and teeth are more closely compressed and the unvocalized breath is more forcibly expelled. Pronounce the word fife with special force on the final f.

The subtonic th, which is the occasion of so much trouble to

foreigners learning our language, is in reality one of the easiest consonants to produce. The tip of the tongue is pressed forcibly under and against the upper front teeth, the lips are slightly parted, and the vocalized breath is expelled between the teeth. The word thine is suggested for practice. The atonic th is a forcible aspiration executed with the organs in a similar position, the only difference being the absence of vocality. Practice the word thin with special reference to the initial sound.

The atonic ch has generally been considered as a compound of t and sh. This analysis is questioned. The sound is made by placing the tip of the tongue with energy against the interior ridge of upper gum, with the teeth shut. The sudden break of this contact of the organs permits the breath to escape in the sound of the explosive ch. Prolong the final ch in the word church.

The subtonic d is made by placing the tip of the tongue with great energy against the interior ridge of gum over the upper front teeth. The soft palate is raised to prevent the passage of air through the nose. The vocal resonance is by these acts of closure arrested until the maximum of pressure results in the explosive d. Pronounce did until the sound of the final d is fully appreciated.

The subtonicg is produced by carrying the tongue back in a curved position against the palate, thereby compressing the vocalized breath, which issues in the explosive g when the organs relax. Prolong for practice the final g in the word gag.

The subtonic j has generally been regarded as a compound of d and zh. There is some doubt as to the accuracy of this analysis. The sound is made by arching the fore part of the tongue against the roof of the mouth, forming a temporary contact, which is suddenly broken, allowing the sound to escape with a forcible expulsion. Practice the word judge with special reference to the initial sound.

The atonic k is made by a movement and position of the tongue and palate similar to that used in producing the subtonic g. The compression of breath, however, is much greater, and the conse quent explosion more abrupt and forcible. Pronounce the word cake, dwelling with special force upon the final consonant.

The subtonic is made by raising the tongue toward the roof of the mouth with the tip against the interior ridge of gum over the front teeth, allowing the vocalized breath to escape over the sides of the tongue. Prolong the final consonant in the word lull.