In considering indistinctness, we noted that the difficulty was due mainly to the following faults: (1) running words together, which can usually be avoided by speaking at a moderate rate; (2) speaking in the throat, which can be overcome by making sufficient effort to raise the tone into the pharynx and nasal chambers, and to articulate properly; (3) speaking with the mouth closed, a fault which can be cured by cultivating the habit of opening the lips in the utterance of vowel sounds; (4) bad articulation, which in rare cases is due to physical defects or absolutely wrong positions of the organs of articulation, but chiefly to the all-too-common satisfaction with approximately correct positions. Emphasis was put upon the necessity of avoiding carelessness, and of making each consonant with absolute accuracy.

Modulation of voice was discussed, first, with reference to pleasing speech, and secondly, with regard to clear and forceful speech. The student was advised to secure the former by using a clear, resonant normal quality, a constantly varying inflection (change of pitch), following the style employed in conversation but somewhat more extended in range, force applied as in conversation but somewhat greater in amount, and rate slightly slower than conversational.

To express thought and feeling clearly and forcibly, certain modulations other than the con

The

versational ones are occasionally needed. normal quality of voice is in most cases most desirable, but for some purposes, such as indicating intense anger, a striking climax, awe or reverence, the guttural, the whisper and the orotund are, respectively, more expressive. For bringing out vitally significant points, the speaker was advised to use a noticeable variation from the normal force and pitch, either by increasing the former and raising the latter, or by doing just the opposite. Special modulations of rate for clearness and emphasis were also noted: the markedly slow rate to present complex thoughts, or to convey the impression of profundity, vastness or distinctness; the pause as a striking means of emphasis; and an accelerated rate for delivering passages of slight significance, for suggesting rapidity of action or excitement, or for getting a stirring effect from a compact series of images or ideas. It is desirable to add, in closing, that the aim throughout the chapter has been to emphasize the fact that a normal, unaffected voice, free from faults and modulated substantially as in animated conversation, is the standard for effective

ness.

CHAPTER XIII

EXPRESSIVE GESTURE

That gesture, or visible expression, is a valuable aid to the voice in conveying a speaker's message to his audience is universally admitted. It is frequently contended, however, that the study of gesture is more or less futile. The crux of the contention is that gesture is something spontaneous and that any attempt to restrict or direct this instinctive impulse is damaging to real expressiveness. In view of the "nods and becks and wreathed smiles" which we all see in our daily lives to say nothing about the fists and frowns-there is no question about the spontaneity of visible expression. But as has been said previously concerning the voice, the expressiveness which we notice in offices, dining-rooms, and back-yards often fails to materialize on the speaking platform. Apropos of this, Mr. A. C. Sutherland has narrated a suggestive little incident that runs somewhat as follows:

It appears that a group of amateur actors had secured the services of a kindly-disposed professional to coach one of their productions. In due

time the play was given, with no little success. After the final curtain, a rather pompous person found his way to the coach and complimented him on the performance, adding, "But the finest bit was contributed by the little girl; any one could see that her acting was nature, not art." "My dear fellow" replied the somewhat nettled coach, "I have devoted two hours a day for three months to teach that child how to appear natural for five minutes."

If people who address the public would only express themselves on the platform even as well as they do in animated private conversation, teachers of speaking might possibly be content to forswear art and let nature take its course. Indeed, it is to be hoped that the use of the friendly, genial, sincere attitude, the simple, unaffected style of composition, and the conversational modulations of the voice will in themselves have a beneficial influence on the student's gesture. But a few suggestions may help him to use nature to the best advantage; in other words, to avoid certain things which distract the attention of the audience, and to employ such gestures as will strengthen his delivery.

A. GESTURE Defined

Gesture was referred to above as "visible expression." In a broad sense, then, it is any means

of appealing to the eye. This includes all postures and movements of the body, head, face, limbs and hands.

B. NORMAL POSITION

One of the first things for a speaker to acquire is a good normal posture. The aim in this respect is partly to produce the impression of ease and poise, but more especially to avoid displeasing or distracting attitudes. To stand with chest concaved, arms akimbo or folded, hands in the pockets, or with feet spread far apart-any such attitude tends to call attention to the speaker's person, and is therefore as undesirable as a socalled "loud" check pattern in clothes. A positively good effect is produced, on the other hand, by the mere fact that a speaker's position indicates unobtrusive self-confidence and poise. Head and chest erect; feet three or four inches apart, one slightly advanced; arms and hands hanging easily at the sides-that represents the proper position. It is very simple and natural, and yet awkwardness on the speaking platform unfortunately abounds.

C. SHIFTING THE POSITION

An occasional change of position is desirable, furnishing both to speaker and audience a relief