페이지 이미지
PDF
ePub

In very

strong, vital emotions there will be a more or less gradual increase of volume corresponding to the crescendo ir music, culminating on the emphatic word. tender emotions the volume may gradually diminish until the emphatic word is reached. Compare “How I hate you ” with “How I love you.

By this time your studies have shown you many examples of what is called emotional emphasis that is, expression which brings out the feelings of the speaker, as well as the ideas in his mind. All of the elements of expression are means of portraying emotion. You should use these means wherever they are appropriate, but always try to really feel what you would express and express only what you feel. This is the secret of natural delivery. One may cultivate and control the emotions just as one develops the intellectual powers. Moreover, in so doing we learn the lesson of self-mastery, which is far more important than the most perfect expression.

Notice that in many of the following examples many single words have an emotional meaning of their own. Such are “lazy," "dawdling,” “awful,” “

angry, "holy.” The same rules of expression apply to these as to phrases and sentences.

The tense or relaxed states of the body, and especially of the pharynx or back of the mouth, have much to do with emotional expression. In love and pleasure, generally, we draw in our words and linger over them, while we expel more or less violently words that express un.

66

[ocr errors]
[ocr errors]

pleasant things. Compare beautiful, gentle, noble, kind, holy, with bestial, disgusting, contemptible, nauseous, hideous, or with expletives, bah, pshaw, and the like.

EXAMPLES OF TRANSITION IN EXPRESSION.

Never a horse a jockey would worship and admire
Like Flash in front of the engine a-racing to the fire;
Never a horse so lazy, so dawdling, and so slack,
As Flash upon his return trip, a-drawing the engine back.

-Carleton

The combat deepens. On, ye brave,
Who rush to glory or the grave!
Wave, Munich! all thy banners wave,

And charge with all thy chivalry!

Ah! few shall part where many meet!
The snow shall be their winding-sheet,
And every turf beneath their feet

Shall be a soldier's sepulchre.Campbell.

Hush! hark! did stealing steps go by ? Came not faint whispers

near ? No! The wild wind hath many a sigh amid the foliage sere. Hark! yet again !—and from his hand what grasp hath wrenched

the blade ? Oh, single 'midst a hostile band, young soldier, thou’rt betrayed ! “ Silence!” in undertones they cry; “no whisper-not a breath! The sound that warns thy comrades nigh shall sentence thee to

death!”

Still at the bayonet's point he stood, and strong to meet the blow; And shouted, 'midst his rushing blood, “Arm! arm! Auvergne!

the foe!” The stir, the tramp, the bugle-call, he heard their tumults grow; And sent his dying voice through all, “Auvergne! Auvergne!

the foe!”—Mrs. Hemans.

Old Master Brown brought his ferule down:
His face was angry and red:

Anthony Blair, go sit you there
Among the girls,” he said.

So Anthony Blair, with a mortified air,
And his head hung down on his breast,

Went right away and sat all day
With the girl who loved him best.

LESSON XXXV.

Full-Arm Gestures.

Full-arm gestures are appropriate where there is great earnestness, strong feeling, or when addressing an audience of any size.

We have an almost infinite number of expressive actions of the arm, but a few examples will suffice to illustrate right and wrong ways of making them.

One of the most common faults is not observing the proper order of movement, which is: First, upper arm; second, forearm; finally, the hand and fingers. Another fault is to finish the gesture with the arm only partly developed, “broken,''

sometimes say (Fig. 5).

EXERCISE I.

Indication (palm up). Select an object at the side. Remember that the actions of the eye and head precede that of the arm.

as

we

1. Raise the upper arm, letting the rest of the arm

hang lifeless, until the elbow points in the direction of the object.

2. Straighten the forearm, at the same time turning it at the elbow so that the hand, which still remains passive, is

moved edgewise until the wrist is “ from earth,” bringing the palm up.

3. Straighten out the hand with the forefinger pointing as described in Lesson XXXI. Use every-day expressions, like “ look at that,” “ take a chair."

Fig. 18.

EXERCISE II.

one.

I

FIG. 19.

Indication (palm down). This is a more active expression than the former

In pointing out objects at a great distance, or where there is great earnestness, ex

citement or command, we use this form of indication; the other is more easy and trustful.

The order of action is as before, but with the outer edge of the hand leading instead of the inner. (Fig. 18.)

“Go !” “Who is it leans from the belfry with face upturned to the sky ?”

Practise these until the three movements blend gracefully. Be very careful not to overdo the movements or add affected curves to the forearm and hand movements. Make every gesture as simple as possible.

EXERCISE III. Indication of Self-Folding Movement. Here the arm folds in instead of developing outward. With the arm hanging at the side :

(a) Turn the arm slightly, bringing the palm outward, at the same time carrying the elbow out a very little distance from the body. (Fig. 20.)

FIG. 22.

FIG. 21.

FIG. 20.

(6) Fold the hand so as to bring the fingers pointing toward the part to be indicated. (Fig. 21.)

(c) Fold the forearm, at the same time raising the upper arm and carrying it out from the body, until the fingers touch the spot you wish to indicate. (Fig. 22.)

« 이전계속 »