The first object of a reader or speaker, is, to be clearly understood by his hearers. In order for this, it is necessary that he should pronounce his words distinctly, and deliberately; that he should carefully avoid the two extremes of uttering either too fast, or too slow; and that his tone of voice should be perfectly natural.
A reader or speaker should endeavor to acquire a perfect command of his voice; so as neither to stun his hearers by pitching it upon too high a key; nor tire their patience by obliging them to listen to sounds which are scarcely audible. It is not the loudest speaker, who is always the best understood; but he who pronounces upon that key which fills the space occupied by the audience. That pitch of voice, which is used in ordinary conversation, is usually the best for a public speaker.
Early attention ought to be paid to the pauses; but the rules for these are so indefinite and arbitrary, and so difficult to be comprehended, that long experience is necessary in order to acquire a perfect knowledge of their use. With regard to the length of the several pauses, no precise rules can be given. This, together with the variety of tones which accompany them, depends much upon the nature of the subject.
Perhaps nothing is of more importance to a reader or speaker, than a proper attention to accent, emphasis, and cadence. Every word in our language, of more than one syllable, has, at least, one accented syllable. This syllable ought to be rightly known, and the word should be pronounced by the reader or speaker in the same manner as he would pronounce it in ordinary conversation.
By emphasis, we distinguish those words in a sentence which we esteem the most important, by laying a greater stress of voice upon them than we do upon the others. And it is surprising to observe how the sense of a phrase may be altered by varying the emphasis. The following example will serve as an illustration.
This short question, "Will you ride to town to-day?" may be understood in four different ways, and consequently, may receive four different answers, according to the placing of the emphasis.
If it be pronounced thus; Willyouride to town to-day? the answer may properly be, no; I shall send my son. If thus; Will yourideto town to-day; Answer, no; I intend to walk. Will you ride totownto-day? No; I shall ride into the country. Will you ride to townto-day? No; but I shall to-morrow.
This shows how necessary it is that a reader or speaker should know where to place his emphasis. And the only rule for this is, that he study to attain a just conception of the force and spirit of the sentiments which he delivers. There is as great a difference between one who lays his emphasis properly, and one who pays no regard to it, or places it wrong, as there is between one who plays on an instrument with a masterly hand, and the most bungling performer.
Cadence is the reverse of emphasis. It is a depression or lowering of the voice; and commonly falls upon the last syllable in a sentence. It is varied, however, according to the sense. When a question is asked, it seldom falls upon the last word; and many sentences require no cadence at all.
In addition to what has been said, it is of great importance to attend particularly to tones and gestures. To almost every sentiment we utter, more especially, to every strong emotion, nature has adapted some peculiar tone of voice. And we may observe, that every man, when he is much in earnest in common discourse, when he is speaking on some subject which interests him nearly, has an eloquent or persuasive tone and manner.
If one were to tell another that he was very angry, or very much grieved, in a tone which did not suit such emotions, instead of being believed, he would be laughed at. The best direction which can be given, is, to copy the proper tones for expressing every sentiment from those which nature dictates to us in conversation with others.
With respect to gesture, the few following hints may be of some service. When speaking in public, one should endeavor to preserve as much dignity as possible in the whole attitude of the body. An erect posture is generally to be chosen; standing firm so as to have the fullest command of all his motions. Any inclination, which is used, should be forwards towards the hearers, which is a natural expression of earnestness.
As for the countenance, the chief rule is, that it should correspond with the nature of the discourse; and when no particular emotion is expressed, a serious and manly look is always the best. The eyes should never be fixed close on any one object, but more easily round upon the whole audience.
In the motions made with the hands consists the chief part of gesture in speaking. The right hand should be used more frequently than the left. Warm emotions demand the motion of both hands corresponding together. All the gestures should be free and easy. Perpendicular movements with the hands, that is, in a straight line up and down are seldom good. Oblique motions are, in general, the most graceful.
Motions made with the hands should proceed rather from the shoulders than from the elbows; for they appear much more easy. Too sudden and nimble motions should be avoided. Earnestness can be fully expressed without them. Above all things, a speaker should guard against affectation, which is always disgustful.