Cecil Henry Bullivant

Fig. 1.—Correct position for reciter.

It is frequently and quite erroneously supposed by the uninitiated that, given a good memory and a pleasing voice, the young would-be elocutionist may become highly successful in the art of reciting. It is only the painstaking, experienced artist who realizes that these attributes are but as the husk to the nut, the calyx to the bud.

Cased in its shell is the kernel, and folded in its green sheath are the petals of the flower. So, likewise, the voice and power of memorizing must be but the covering of numerous other qualities, attained only by perseverance, judicious practice, and that artistic sense of fitness without which all attempts to excel are in vain.

It is impossible to play a symphony on the pianoforte before grinding away at the rudiments of music, and no one may build a house without mastering the elements of architecture. Yet the difficult art of reciting is often approached by a novice, who, having pounded some poem or prose into his or her memory (reciting is usually a feminine qualification) plunges into it with all the self-satisfaction of ignorance, and pains or fatigues her listeners by her flagrant and unsympathetic rendering of a masterpiece, which, in experienced hands, would be an exquisite piece of work, something to be remembered and dwelt upon with considerable pleasure.

The speaking voice, properly treated, is an instrument of exquisite music, capable of as many shades of feeling and power as the pipe organ. Before all else the voice must possess sympathy, sweetness, power of expression, and naturalness; and, unless these qualities are governed by a high sensibility, keen intuition, and common sense, they are futile.

The wing of the voice is the breath. Unless this is elastic, easily and naturally produced, the voice is like a crippled bird, or similar to a musical instrument with broken strings. Thus the cultivation of voice and breath is the most powerful adjunct to good reciting, and this only comes by constant practice.

In practicing, the reciter should stand in an easy attitude (Fig. 1)—erect, but not stiffly upright, and with muscles neither tense nor unduly lax, as in Fig. 1a. “There are no straight lines in Nature.” This is an invaluable motto for the student. The best method of gaining a clear and flexible voice is to read aloud some paragraph or verse softly at first, studying the meaning and sound of every word spoken, and endeavoring to express its phonetic quality, not only with the lip, but with the eyes. A mirror is an excellent help (Fig. 2). It will show the beginner the difference between facial expression and facial contortion (Fig. 2a).

The Speaking Register

The paragraph may be repeated in a gradual crescendo until the full power of the voice is used, always taking care to avoid harsh and stridulous tones, and not strain or fatigue the throat. When the student has accomplished this to her satisfaction, she should allow her voice to die gradually away, until it is almost a whisper, but her tone must always be clear and round in quality. This method will bring many different shades of inflection and feeling into the voice, and she will be astonished at the notes she will add to her speaking register.

A good exercise is to make out a list of abstract words, and, concentrating attention upon them, endeavor to convey their full meaning with the aid of the mirror. Such sentences as: “I love you dearly,” “My hate is too deep for words,” “My scorn is intense,” “My tender concern,” “My pity,” “My contempt,” “My indifference,” “My desire,” “My despair,” and other impromptu phrases may be spoken in different tones, united, with eye and features, to express the qualities voiced.

The student need not despair because she has a bad or untrained memory. The power of memorizing verse or prose only requires diligence and concentration to become facile and natural. Exaggeration, affectation, melodrama, and meaningless gesture should be avoided, for there is nothing so appealing as simplicity.

Before reading a poem aloud, the reciter should master the meaning of the story it sets forward. She must remember that she is about to paint a picture in words. To do this effectively, she must avoid daubing in lurid colors. She will find it helpful to regard her mind as her palette, her voice as her brush, and her color tones as sympathy, tranquillity, gentleness, optimism, faithfulness, and clearness of expression. She should take as much pains when practicing as when performing before others, endeavoring to criticise her mode of speech and expression just as though she were listening to some one else’s recital.

The following simple rules will prove of great assistance:—

• 1. Breathe easily, inflating the lungs slowly, and without effort or sound.
• 2. Speak distinctly and clearly, and avoid shouting.
• 3. Sound the consonants, but do not hiss them.
• 4. Sound the syllables distinctly, but without undue emphasis.
• 5. Sound the definite article without giving it too much importance.
• 6. Read brightly and naturally.
• 7. Avoid monotony: graduate tones by feeling.
• 8. Understand clearly and sympathetically what is studied.
• 9. Read with earnestness, but without heaviness.
• 10. Mind pauses and emphasis.

Here is an example from “David Copperfield”:

“Here is our pew in the church. What a high-backed pew! With a window near it, out of which our house can be seen, and is seen many times during the morning’s service by Peggotty, who likes to make herself as sure as she can that it’s not being robbed, or is not in flames. But, though Peggotty’s eye wanders, she is much offended if mine does, and frowns to me, as I stand upon the seat, that I am to look at the clergyman.”

In this passage the reciter is for the time being a little boy endeavoring to sit quietly in church and fix his eyes on the clergyman. She must be simplicity itself in order to depict the David and his surroundings, lending a sympathetic eye that probes the brain and heart of the child squeezed between his mother and nurse, and she must see every detail as he describes it.

In order to do this successfully, intuition is essential. It will inspire the voice to a like comprehension, with the result that her listeners will be able to see that little weary figure quite plainly. Thus, in everything undertaken, the student must learn to merge her personality into that of the man, woman, or child of whom she is speaking, so that the words spoken seem indeed to fall from the lips of the characters portrayed.

Appropriate Gesture

Appropriate gesture presents difficulties, and, although occasionally a powerful aid, it is more often a stumbling-block to the inexperienced reciter. Many otherwise excellent recitals have been marred by superfluous demonstrations, which remind one forcibly of the action songs and recitations performed in a kindergarten, whilst not a few reciters hedge themselves in with boundaries. They will mention the sea, and point to a horizon, indicate distant hills, wood and lake, frequently forgetting their respective situations. I have seen upon more than one occasion a reciter engaged in a ludicrous juggling of her scenery, pushing the sea aside to make room for the hills, and merging her forests in the lake. This forgetfulness, usually engendered by extreme nervousness, renders an artist ridiculous. How much better, then, to refrain from gesticulation, unless she has mastered its intricacies.

In drawing-room reciting the voice must expand according to the acoustic properties of the apartment. A good way of making the voice carry is to imagine it an india-rubber ball, which is being thrown against the opposite wall. This thought will gradually insure its elastic properties.

When reciting, the eyes should be kept from roving among the audience, nor should they be fixed in a strained, glassy stare on the ceiling, for they are too useful to the performer, and will be needed to express different shades of thought.

If the reciter is nervous, she should endeavor not to show it by twisting her fingers or moving her feet. The best cure for this harassing affliction is to glance quietly at the audience before beginning to recite. Taken individually, they will be found far from alarming. After this, a determined endeavor should be made to concentrate the mind on the artistic rendering of the recital.

To many elocutionists, costumes are a help, enabling them to grip more powerfully the character portrayed. In this case a certain amount of gesture is advisable, but there are no hard and fast rules. Actions must be governed by discretion and common sense.

The hand may properly be called a second tongue. As such it should be treated, and, to continue the simile, should not be allowed to stammer behind or chatter meaninglessly before the reciter.

The hands and arms are capable of a vast amount of expression when properly used.

Gesture may be divided into three classes:—

1. The epic radius, or mental zone, is the movement above the head and horizontal with the shoulder (Fig. 3). These are sweeping and graceful, not jerky movements, indicating such sentiments as honor, conscience, awe, veneration, &c., and may be used with advantage in such lines as—

In Shakespearean recitals and other blank verse, this epic zone may be used, as, for instance, in such pieces as the choruses of Henry V.

2. The rhetorical radius, or moral zone, includes the movements of the arm from breast to shoulder and from the region of the heart (Fig. 4), and may be used to appeal, implore, beseech, express love, hate, fear, contempt, &c., as in Queen Katherine’s speech in Shakespeare’s “King Henry VIII.,” Act ii. Scene 4:—

3. The colloquial radius, or vital zone, from below the waist (Fig. 5), is used to express ordinary sentiments that do not emanate in the heart or higher intellect, and may be used to give point to a simple, everyday occurrence, or narration, as in—

During the long winter evenings, when amusements and entertainments are cordially welcomed in home circles and at friends’ firesides, the youth or maiden who is unable to play or sing, may, with a little care and practice, provide a delightful item in the programme, which will add considerably to the evening’s enjoyment.

An hour’s regular practice a day will work wonders with the voice of these aspirants, and there are many simple and exquisite poems that are easily committed to memory, for the student is far more likely to succeed and give pleasure to others in memorizing at first only the simplest and shortest poems, remembering always Shakespeare’s invaluable counsel to players:—

“Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue; but, if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand—thus; but use all gently; for in the very torrent, tempest, and (as I may say) the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness ... Be not too tame, neither, but let your discretion be your tutor; suit the action to the word, the word to the action, with this special observance, that you o’erstep not the modesty of Nature.”