THE ART OF PUBLIC SPEAKING. J. BERG ESENWEIN DALE CARNAGEY. Читать онлайн. Newlib. NEWLIB.NET

Автор: J. BERG ESENWEIN DALE CARNAGEY
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isbn: 9783753192390
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tempo is a tremendously important element in good platform work, for

      when a speaker delivers a whole address at very nearly the same rate of

      speed he is depriving himself of one of his chief means of emphasis and

      power. The baseball pitcher, the bowler in cricket, the tennis server,

      all know the value of change of pace--change of tempo--in delivering

      their ball, and so must the public speaker observe its power.

      _Change of Tempo Lends Naturalness to the Delivery_

      Naturalness, or at least seeming naturalness, as was explained in the

      chapter on "Monotony," is greatly to be desired, and a continual change

      of tempo will go a long way towards establishing it. Mr. Howard Lindsay,

      Stage Manager for Miss Margaret Anglin, recently said to the present

      writer that change of pace was one of the most effective tools of the

      actor. While it must be admitted that the stilted mouthings of many

      actors indicate cloudy mirrors, still the public speaker would do well

      to study the actor's use of tempo.

      There is, however, a more fundamental and effective source at which to

      study naturalness--a trait which, once lost, is shy of recapture: that

      source is the common conversation of any well-bred circle. _This_ is the

      standard we strive to reach on both stage and platform--with certain

      differences, of course, which will appear as we go on. If speaker and

      actor were to reproduce with absolute fidelity every variation of

      utterance--every whisper, grunt, pause, silence, and explosion--of

      conversation as we find it typically in everyday life, much of the

      interest would leave the public utterance. Naturalness in public address

      is something more than faithful reproduction of nature--it is the

      reproduction of those _typical_ parts of nature's work which are truly

      representative of the whole.

      The realistic story-writer understands this in writing dialogue, and we

      must take it into account in seeking for naturalness through change of

      tempo.

      Suppose you speak the first of the following sentences in a slow tempo,

      the second quickly, observing how natural is the effect. Then speak both

      with the same rapidity and note the difference.

      I can't recall what I did with my knife. Oh, now I remember I

      gave it to Mary.

      We see here that a change of tempo often occurs in the same

      sentence--for tempo applies not only to single words, groups of words,

      and groups of sentences, but to the major parts of a public speech as

      well.

      QUESTIONS AND EXERCISES

      1. In the following, speak the words "long, long while" very slowly; the

      rest of the sentence is spoken in moderately rapid tempo.

      When you and I behind the Veil are past,

      Oh but the long, long while the world shall last,

      Which of our coming and departure heeds,

      As the seven seas should heed a pebble cast.

      Note: In the following selections the passages that should be given a

      fast tempo are in italics; those that should be given in a slow tempo

      are in small capitals. Practise these selections, and then try others,

      changing from fast to slow tempo on different parts, carefully noting

      the effect.

      2. No MIRABEAU, NAPOLEON, BURNS, CROMWELL, NO _man_ ADEQUATE

      _to_ DO ANYTHING _but is first of all in_ RIGHT EARNEST _about

      it--what I call_ A SINCERE _man. I should say_ SINCERITY, _a_

      GREAT, DEEP, GENUINE SINCERITY, _is the first_ CHARACTERISTIC

      _of a man in any way_ HEROIC. _Not the sincerity that_ CALLS

      _itself sincere. Ah no. That is a very poor matter indeed_--A

      SHALLOW, BRAGGART, CONSCIOUS _sincerity, oftenest_ SELF-CONCEIT

      _mainly. The_ GREAT MAN'S SINCERITY _is of a kind he_ CANNOT

      SPEAK OF. _Is_ NOT CONSCIOUS _of_.--THOMAS CARLYLE.

      3. TRUE WORTH _is in_ BEING--NOT SEEMING--_in doing each day

      that goes by_ SOME LITTLE GOOD, _not in_ DREAMING _of_ GREAT

      THINGS _to do by and by. For whatever men say in their_

      BLINDNESS, _and in spite of the_ FOLLIES _of_ YOUTH, _there is

      nothing so_ KINGLY _as_ KINDNESS, _and nothing so_ ROYAL _as_

      TRUTH.--_Anonymous_.

      4. To get a natural effect, where would you use slow and where fast

      tempo in the following?

      _FOOL'S GOLD_

      See him there, cold and gray,

      Watch him as he tries to play;

      No, he doesn't know the way--

      He began to learn too late.

      She's a grim old hag, is Fate,

      For she let him have his pile,

      Smiling to herself the while,

      Knowing what the cost would be,

      When he'd found the Golden Key.

      Multimillionaire is he,

      Many times more rich than we;

      But at that I wouldn't trade

      With the bargain that he made.

      Came here many years ago,

      Not a person did he know;

      Had the money-hunger bad--

      Mad for money, piggish mad;

      Didn't let a joy divert him,

      Didn't let a sorrow hurt him,

      Let his friends and kin desert him,

      While he planned and plugged and hurried

      On his quest for gold and power.

      Every single wakeful hour

      With a money thought he'd dower;

      All the while as he grew older,

      And grew bolder, he grew colder.

      And he thought that some day

      He would take the time to play;

      But, say--he was wrong.

      Life's a song;

      In the spring

      Youth can sing and can fling;

      But joys wing

      When we're older,