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that someone in our vicinity was in danger of a bruised eye at least.
Try to have harmony everywhere in your attitudes; do not let one part of the body contradict another.
TO THE TEACHER:-The practice of dialogues is a very useful means of giving pupils confidence and ease before an audience. The study of the bearings and attitudes suitable to different characters in a scene or dialogue is also excellent mental discipline, as it cultivates the powers of observation and analysis. The few hints given above, together with previous instruction in attitude, gesture, and facial expression will be found to suggest a very wide range of expression in characterization. No attempt has been made in this book to cover the whole ground in any department of oratory. Especially is this true of pantomimic expression, a field that has been very thoroughly explored of late years, and concerning which volumes might be written. If it seems, nevertheless, that an undue proportion of our work has been devoted to pantomime and physical preparation for it, it should be borne in mind that the relation between pantomimic and vocal expression is much closer than is commonly supposed, and that effective action inevitably reacts in favor of effective speech, and is more easily studied and criticised, since the theory of vocal expression, spite of all our gains in the last twenty years, is far from the perfection that pantomime has attained. The laws of the one apply to the other, to be sure; but their application is much more difficult in the department of vocal expression. Freedom of action means freedom of speech.
The following selections have been made for the pur-· pose of furnishing a more extended application of the principles that have been discussed in the preceding lessons. Lessons I., II., and III. are all to be used in conjunction with Lesson III. in the Primer. From that
point the numbers in both parts correspond.
The intelligent teacher will at once perceive that in following this plan of progressive study (corresponding to the use of études in music) much that is essential to a proper rendition of even the simplest of the earlier selections must necessarily be ignored; but it is impossible to avoid this without confusing the beginner with technicalities with which he is yet unfamiliar. By confining the attention to one new point at a time, however, each will be made clear, while there will be a gradual accumulation of a systematized body of knowledge, and a corresponding assimilation of the technical requirements of more complex and difficult selections, as well as what, after all, should be the chief aim in elocutionary study the worthy expression of his own ideas. To avoid monotony, these studies should be supplemented by studies of a similar grade, such as may be found in standard text-books of reading and recitation.
Finally, it should never be forgotten that technique is, after all, but the dry bones of art, and that the proper rendition of even the simplest selection requires a perfect comprehension of the author's thought and the constant exercise of the student's powers of imagination.
F. TOWNSEND SOUTHWICK,
The Prodigal Son.
[Tell the story simply, being especially careful to speak to your audience, raising the eyes from the book, as directed in Lesson III. At first you will have to take more time for this than is necessary for expression; but consider that the beginner in any art must practise slowly until he gains facility, and that a perfectly natural manner of reading can be attained in no other way.]
A certain man had two sons: and the younger of them said to his father, “Father, give me the portion of thy substance that falleth to me." And he divided unto them his living.
And not many days after the younger son gathered all together, and took his journey into a far country: and there he wasted his substance with riotous living.
And when he had spent all, there arose a mighty famine in that country; and he began to be in want. And he went and joined himself to one of the citizens in that country; and he sent him into his fields to feed swine.
And he fain would have been filled with the husks that the swine did eat; and no man gave unto him. But when he came to himself he said, "How many hired servants of my father's have bread enough and to spare, and I perish from hunger! I will arise and go to my father, and say unto him, 'Father, I have sinned against heaven and in thy sight: I am no more worthy to be called thy son: make me as one of thy hired servants.'”
And he arose, and came to his father. But while he was yet afar off, his father saw him, and was moved with compassion, and ran, and fell on his neck, and kissed him.
And the son said unto him, "Father, I have sinned against heaven, and in thy sight: I am no more worthy to be called thy son!"
But the father said to his servants, “Bring forth quickly the best robe, and put it on him; and put a ring on his hand and shoes on his feet; and bring the fatted calf, and kill it, and let us eat and make merry: for this my son was dead, and is alive again; he was lost, and is found." And they began to be merry.
Now his elder son was in the field: and as he came and drew