Kitabı oku: «THE ART OF PUBLIC SPEAKING», sayfa 6
EFFICIENCY THROUGH INFLECTION
How soft the music of those village bells,
Falling at intervals upon the ear
In cadence sweet; now dying all away,
Now pealing loud again, and louder still,
Clear and sonorous, as the gale comes on!
With easy force it opens all the cells
Where Memory slept.
--WILLIAM COWPER, _The Task_.
Herbert Spencer remarked that "Cadence"--by which he meant the
modulation of the tones of the voice in speaking--"is the running
commentary of the emotions upon the propositions of the intellect." How
true this is will appear when we reflect that the little upward and
downward shadings of the voice tell more truly what we mean than our
words. The expressiveness of language is literally multiplied by this
subtle power to shade the vocal tones, and this voice-shading we call
_inflection_.
The change of pitch _within_ a word is even more important, because more
delicate, than the change of pitch from phrase to phrase. Indeed, one
cannot be practised without the other. The bare words are only so many
bricks--inflection will make of them a pavement, a garage, or a
cathedral. It is the power of inflection to change the meaning of words
that gave birth to the old saying: "It is not so much what you say, as
how you say it."
Mrs. Jameson, the Shakespearean commentator, has given us a penetrating
example of the effect of inflection; "In her impersonation of the part
of Lady Macbeth, Mrs. Siddons adopted successively three different
intonations in giving the words 'We fail.' At first a quick contemptuous
interrogation--'We fail?' Afterwards, with the note of admiration--'We
fail,' an accent of indignant astonishment laying the principal emphasis
on the word 'we'--'_we_ fail.' Lastly, she fixed on what I am convinced
is the true reading--_We fail_--with the simple period, modulating the
voice to a deep, low, resolute tone which settles the issue at once as
though she had said: 'If we fail, why then we fail, and all is over.'"
This most expressive element of our speech is the last to be mastered in
attaining to naturalness in speaking a foreign language, and its correct
use is the main element in a natural, flexible utterance of our native
tongue. Without varied inflections speech becomes wooden and monotonous.
There are but two kinds of inflection, the rising and the falling, yet
these two may be so shaded or so combined that they are capable of
producing as many varieties of modulation as maybe illustrated by either
one or two lines, straight or curved, thus:
[Illustration of each line]
Sharp rising
Long rising
Level
Long falling
Sharp falling
Sharp rising and falling
Sharp falling and rising
Hesitating
These may be varied indefinitely, and serve merely to illustrate what
wide varieties of combination may be effected by these two simple
inflections of the voice.
It is impossible to tabulate the various inflections which serve to
express various shades of thought and feeling. A few suggestions are
offered here, together with abundant exercises for practise, but the
only real way to master inflection is to observe, experiment, and
practise.
For example, take the common sentence, "Oh, he's all right." Note how a
rising inflection may be made to express faint praise, or polite doubt,
or uncertainty of opinion. Then note how the same words, spoken with a
generally falling inflection may denote certainty, or good-natured
approval, or enthusiastic praise, and so on.
In general, then, we find that a bending upward of the voice will
suggest doubt and uncertainty, while a decided falling inflection will
suggest that you are certain of your ground.
Students dislike to be told that their speeches are "not so bad," spoken
with a rising inflection. To enunciate these words with a long falling
inflection would indorse the speech rather heartily.
Say good-bye to an imaginary person whom you expect to see again
tomorrow; then to a dear friend you never expect to meet again. Note the
difference in inflection.
"I have had a delightful time," when spoken at the termination of a
formal tea by a frivolous woman takes altogether different inflection
than the same words spoken between lovers who have enjoyed themselves.
Mimic the two characters in repeating this and observe the difference.
Note how light and short the inflections are in the following brief
quotation from "Anthony the Absolute," by Samuel Mervin.
_At Sea--March 28th_.
This evening I told Sir Robert What's His Name he was a fool.
I was quite right in this. He is.
Every evening since the ship left Vancouver he has presided over
the round table in the middle of the smoking-room. There he sips
his coffee and liqueur, and holds forth on every subject known
to the mind of man. Each subject is _his_ subject. He is an
elderly person, with a bad face and a drooping left eyelid.
They tell me that he is in the British Service--a judge
somewhere down in Malaysia, where they drink more than is good
for them.
Deliver the two following selections with great earnestness, and note
how the inflections differ from the foregoing. Then reread these
selections in a light, superficial manner, noting that the change of
attitude is expressed through a change of inflection.
When I read a sublime fact in Plutarch, or an unselfish deed in
a line of poetry, or thrill beneath some heroic legend, it is no
longer fairyland--I have seen it matched.
--WENDELL PHILLIPS.
Thought is deeper than all speech,
Feeling deeper than all thought;
Souls to souls can never teach
What unto themselves was taught.
--CRANCH
It must be made perfectly clear that inflection deals mostly in subtle,
delicate shading _within single words_, and is not by any means
accomplished by a general rise or fall in the voice in speaking a
sentence. Yet certain sentences may be effectively delivered with just
such inflection. Try this sentence in several ways, making no
modulation until you come to the last two syllables, as indicated,
And yet I told him dis-
__________________________
(high) | tinctly.
|___________
(low)
tinctly.
____________
And yet I told him dis- | (high)
_________________________|
(low)
Now try this sentence by inflecting the important words so as to bring
out various shades of meaning. The first forms, illustrated above, show
change of pitch _within a single word_; the forms you will work out for
yourself should show a number of such inflections throughout the
sentence.
One of the chief means of securing emphasis is to employ a long falling
inflection on the emphatic words--that is, to let the voice fall to a
lower pitch on an _interior_ vowel sound in a word. Try it on the words
"every," "eleemosynary," and "destroy."
Use long falling inflections on the italicized words in the following
selection, noting their emphatic power. Are there any other words here
that long falling inflections would help to make expressive?
_ADDRESS IN THE DARTMOUTH COLLEGE CASE_
This, sir, is my case. It is the case not merely of that humble
institution; it is the case of _every_ college in our land. It
is _more_; it is the case of _every eleemosynary_ institution
throughout our country--of _all_ those great charities founded
by the piety of our ancestors to alleviate human misery and
scatter blessings along the pathway of life. Sir, you may
_destroy_ this little institution--it is _weak_, it is in your
hands. I know it is one of the lesser lights in the literary
horizon of our country. You may put it out. But if you do you
must carry through your work; you must extinguish, one after
another, _all_ those great lights of science which, for more
than a century, have thrown their radiance over our land!
It is, sir, as I have said, a small college, and yet--there are
those who _love_ it!
Sir, I know not how others may feel, but as for myself when I
see my alma mater surrounded, like Cæsar in the senate house,
by those who are reiterating _stab_ after _stab_, I would not
for this right hand have her turn to me and say, And _thou,
too_, my son!
--DANIEL WEBSTER.
Be careful not to over-inflect. Too much modulation produces an
unpleasant effect of artificiality, like a mature matron trying to be
kittenish. It is a short step between true expression and unintentional
burlesque. Scrutinize your own tones. Take a single expression like "Oh,
no!" or "Oh, I see," or "Indeed," and by patient self-examination see
how many shades of meaning may be expressed by inflection. This sort of
common-sense practise will do you more good than a book of rules. _But
don't forget to listen to your own voice._
QUESTIONS AND EXERCISES
1. In your own words define (a) cadence, (b) modulation, (c) inflection,
(d) emphasis.
2. Name five ways of destroying monotony and gaining effectiveness in
speech.
3. What states of mind does falling inflection signify? Make as full a
list as you can.
4. Do the same for the rising inflection.
5. How does the voice bend in expressing (_a_) surprise? (_b_) shame?
(_c_) hate? (_d_) formality? (_e_) excitement?
6. Reread some sentence several times and by using different inflections
change the meaning with each reading.
7. Note the inflections employed in some speech or conversation. Were
they the best that could be used to bring out the meaning? Criticise and
illustrate.
8. Render the following passages:
Has the gentleman done? Has he completely done?
And God said, Let there be light: and there was light.
9. Invent an indirect question and show how it would naturally be
inflected.
10. Does a direct question always require a rising inflection?
Illustrate.
11. Illustrate how the complete ending of an expression or of a speech
is indicated by inflection.
12. Do the same for incompleteness of idea.
13. Illustrate (_a_) trembling, (_b_) hesitation, and (_c_) doubt by
means of inflection.
14. Show how contrast may be expressed.
15. Try the effects of both rising and falling inflections on the
italicized words in the following sentences. State your preference.
Gentlemen, I am _persuaded_, nay, I am _resolved_ to speak.
It is sown a _natural_ body; it is raised a _spiritual_ body.
SELECTIONS FOR PRACTISE
In the following selections secure emphasis by means of long falling
inflections rather than loudness.
Repeat these selections, attempting to put into practise all the
technical principles that we have thus far had; emphasizing important
words, subordinating unimportant words, variety of pitch, changing
tempo, pause, and inflection. If these principles are applied you will
have no trouble with monotony.
Constant practise will give great facility in the use of inflection and
will render the voice itself flexible.
_CHARLES I_
We charge him with having broken his coronation oath; and we are
told that he kept his marriage vow! We accuse him of having
given up his people to the merciless inflictions of the most
hot-headed and hard-hearted of prelates; and the defence is,
that he took his little son on his knee and kissed him! We
censure him for having violated the articles of the Petition of
Right, after having, for good and valuable consideration,
promised to observe them; and we are informed that he was
accustomed to hear prayers at six o'clock in the morning! It is
to such considerations as these, together with his Vandyke
dress, his handsome face, and his peaked beard, that he owes, we
verily believe, most of his popularity with the present
generation.
--T.B. MACAULAY.
_ABRAHAM LINCOLN_
We needed not that he should put on paper that he believed in
slavery, who, with treason, with murder, with cruelty infernal,
hovered around that majestic man to destroy his life. He was
himself but the long sting with which slavery struck at liberty;
and he carried the poison that belonged to slavery. As long as
this nation lasts, it will never be forgotten that we have one
martyred President--never! Never, while time lasts, while
heaven lasts, while hell rocks and groans, will it be forgotten
that slavery, by its minions, slew him, and in slaying him made
manifest its whole nature and tendency.
But another thing for us to remember is that this blow was aimed
at the life of the government and of the nation. Lincoln was
slain; America was meant. The man was cast down; the government
was smitten at. It was the President who was killed. It was
national life, breathing freedom and meaning beneficence, that
was sought. He, the man of Illinois, the private man, divested
of robes and the insignia of authority, representing nothing but
his personal self, might have been hated; but that would not
have called forth the murderer's blow. It was because he stood
in the place of government, representing government and a
government that represented right and liberty, that he was
singled out.
This, then, is a crime against universal government. It is not a
blow at the foundations of our government, more than at the
foundations of the English government, of the French government,
of every compact and well-organized government. It was a crime
against mankind. The whole world will repudiate and stigmatize
it as a deed without a shade of redeeming light....
The blow, however, has signally failed. The cause is not
stricken; it is strengthened. This nation has dissolved,--but in
tears only. It stands, four-square, more solid, to-day, than any
pyramid in Egypt. This people are neither wasted, nor daunted,
nor disordered. Men hate slavery and love liberty with stronger
hate and love to-day than ever before. The Government is not
weakened, it is made stronger....
And now the martyr is moving in triumphal march, mightier than
when alive. The nation rises up at every stage of his coming.
Cities and states are his pall-bearers, and the cannon beats the
hours with solemn progression. Dead--dead--dead--he yet
speaketh! Is Washington dead? Is Hampden dead? Is David dead? Is
any man dead that ever was fit to live? Disenthralled of flesh,
and risen to the unobstructed sphere where passion never comes,
he begins his illimitable work. His life now is grafted upon the
Infinite, and will be fruitful as no earthly life can be. Pass
on, thou that hast overcome! Your sorrows O people, are his
peace! Your bells, and bands, and muffled drums sound triumph in
his ear. Wail and weep here; God makes it echo joy and triumph
there. Pass on, victor!
Four years ago, O Illinois, we took from your midst an untried
man, and from among the people; we return him to you a mighty
conqueror. Not thine any more, but the nation's; not ours, but
the world's. Give him place, ye prairies! In the midst of this
great Continent his dust shall rest, a sacred treasure to
myriads who shall make pilgrimage to that shrine to kindle anew
their zeal and patriotism. Ye winds, that move over the mighty
places of the West, chant his requiem! Ye people, behold a
martyr, whose blood, as so many inarticulate words, pleads for
fidelity, for law, for liberty!
--HENRY WARD BEECHER.
_THE HISTORY OF LIBERTY_
The event which we commemorate is all-important, not merely in
our own annals, but in those of the world. The sententious
English poet has declared that "the proper study of mankind is
man," and of all inquiries of a temporal nature, the history of
our fellow-beings is unquestionably among the most interesting.
But not all the chapters of human history are alike important.
The annals of our race have been filled up with incidents which
concern not, or at least ought not to concern, the great company
of mankind. History, as it has often been written, is the
genealogy of princes, the field-book of conquerors; and the
fortunes of our fellow-men have been treated only so far as they
have been affected by the influence of the great masters and
destroyers of our race. Such history is, I will not say a
worthless study, for it is necessary for us to know the dark
side as well as the bright side of our condition. But it is a
melancholy study which fills the bosom of the philanthropist and
the friend of liberty with sorrow.
But the history of liberty--the history of men struggling to be
free--the history of men who have acquired and are exercising
their freedom--the history of those great movements in the
world, by which liberty has been established and perpetuated,
forms a subject which we cannot contemplate too closely. This is
the real history of man, of the human family, of rational
immortal beings....
The trial of adversity was theirs; the trial of prosperity is
ours. Let us meet it as men who know their duty and prize their
blessings. Our position is the most enviable, the most
responsible, which men can fill. If this generation does its
duty, the cause of constitutional freedom is safe. If we
fail--if we fail--not only do we defraud our children of the
inheritance which we received from our fathers, but we blast the
hopes of the friends of liberty throughout our continent,
throughout Europe, throughout the world, to the end of time.
History is not without her examples of hard-fought fields, where
the banner of liberty has floated triumphantly on the wildest
storm of battle. She is without her examples of a people by whom
the dear-bought treasure has been wisely employed and safely
handed down. The eyes of the world are turned for that example
to us....
Let us, then, as we assemble on the birthday of the nation, as
we gather upon the green turf, once wet with precious blood--let
us devote ourselves to the sacred cause of constitutional
liberty! Let us abjure the interests and passions which divide
the great family of American freemen! Let the rage of party
spirit sleep to-day! Let us resolve that our children shall have
cause to bless the memory of their fathers, as we have cause to
bless the memory of ours!
--EDWARD EVERETT.
CONCENTRATION IN DELIVERY
Attention is the microscope of the mental eye. Its power may be
high or low; its field of view narrow or broad. When high power
is used attention is confined within very circumscribed limits,
but its action is exceedingly intense and absorbing. It sees but
few things, but these few are observed "through and through" ...
Mental energy and activity, whether of perception or of thought,
thus concentrated, act like the sun's rays concentrated by the
burning glass. The object is illumined, heated, set on fire.
Impressions are so deep that they can never be effaced.
Attention of this sort is the prime condition of the most
productive mental labor.
--DANIEL PUTNAM, _Psychology_.
Try to rub the top of your head forward and backward at the same time
that you are patting your chest. Unless your powers of coördination are
well developed you will find it confusing, if not impossible. The brain
needs special training before it can do two or more things efficiently
at the same instant. It may seem like splitting a hair between its north
and northwest corner, but some psychologists argue that _no_ brain can
think two distinct thoughts, absolutely simultaneously--that what seems
to be simultaneous is really very rapid rotation from the first thought
to the second and back again, just as in the above-cited experiment the
attention must shift from one hand to the other until one or the other
movement becomes partly or wholly automatic.
Whatever is the psychological truth of this contention it is undeniable
that the mind measurably loses grip on one idea the moment the attention
is projected decidedly ahead to a second or a third idea.
A fault in public speakers that is as pernicious as it is common is that
they try to think of the succeeding sentence while still uttering the
former, and in this way their concentration trails off; in consequence,
they start their sentences strongly and end them weakly. In a
well-prepared written speech the emphatic word usually comes at one end
of the sentence. But an emphatic word needs emphatic expression, and
this is precisely what it does not get when concentration flags by
leaping too soon to that which is next to be uttered. Concentrate all
your mental energies on the present sentence. Remember that the mind of
your audience follows yours very closely, and if you withdraw your
attention from what you are saying to what you are going to say, your
audience will also withdraw theirs. They may not do so consciously and
deliberately, but they will surely cease to give importance to the
things that you yourself slight. It is fatal to either the actor or the
speaker to cross his bridges too soon.
Of course, all this is not to say that in the natural pauses of your
speech you are not to take swift forward surveys--they are as important
as the forward look in driving a motor car; the caution is of quite
another sort: _while speaking one sentence do not think of the sentence
to follow_. Let it come from its proper source--within yourself. You
cannot deliver a broadside without concentrated force--that is what
produces the explosion. In preparation you store and concentrate thought
and feeling; in the pauses during delivery you swiftly look ahead and
gather yourself for effective attack; during the moments of actual
speech, _SPEAK--DON'T ANTICIPATE_. Divide your attention and you divide
your power.
This matter of the effect of the inner man upon the outer needs a
further word here, particularly as touching concentration.
"What do you read, my lord?" Hamlet replied, "Words. Words. Words." That
is a world-old trouble. The mechanical calling of words is not
expression, by a long stretch. Did you ever notice how hollow a
memorized speech usually sounds? You have listened to the ranting,
mechanical cadence of inefficient actors, lawyers and preachers. Their
trouble is a mental one--they are not concentratedly thinking thoughts
that cause words to issue with sincerity and conviction, but are merely
enunciating word-sounds mechanically. Painful experience alike to
audience and to speaker! A parrot is equally eloquent. Again let
Shakespeare instruct us, this tune in the insincere prayer of the King,
Hamlet's uncle. He laments thus pointedly:
My words fly up, my thoughts remain below:
Words without thoughts never to heaven go.
The truth is, that as a speaker your words must be born again every time
they are spoken, then they will not suffer in their utterance, even
though perforce committed to memory and repeated, like Dr. Russell
Conwell's lecture, "Acres of Diamonds," five thousand times. Such
speeches lose nothing by repetition for the perfectly patent reason
that they arise from concentrated thought and feeling and not a mere
necessity for saying something--which usually means anything, and that,
in turn, is tantamount to nothing. If the thought beneath your words is
warm, fresh, spontaneous, a part of your _self_, your utterance will
have breath and life. Words are only a result. Do not try to get the
result without stimulating the cause.
Do you ask _how_ to concentrate? Think of the word itself, and of its
philological brother, _concentric_. Think of how a lens gathers and
concenters the rays of light within a given circle. It centers them by a
process of withdrawal. It may seem like a harsh saying, but the man who
cannot concentrate is either weak of will, a nervous wreck, or has never
learned what will-power is good for.
You must concentrate by resolutely withdrawing your attention from
everything else. If you concentrate your thought on a pain which may be
afflicting you, that pain will grow more intense. "Count your blessings"
and they will multiply. Center your thought on your strokes and your
tennis play will gradually improve. To concentrate is simply to attend
to one thing, and attend to nothing else. If you find that you cannot do
that, there is something wrong--attend to that first. Remove the cause
and the symptom will disappear. Read the chapter on "Will Power."
Cultivate your will by willing and then doing, at all costs.
Concentrate--and you will win.
