The sun. [volume] (New York [N.Y.]) 1833-1916, 1879-04-27
Reading "a n Fine Art.

Reading Fine Art.
The Messrs. Roberts have lately pub
lished a little book which is at once charming
literary performance and manual Of useful
suggestion. both to teachers and to all who
prize aids TO seli-improvcment. We refer to
Miss ALGER's translation Of the treatise by
ERNEST LEGoUyE. which sets forth the French
dramatIsts conception Of reading considered
ms an art. OF course most persons imagine that
the power OF reading well is natural gift. not
an ncqustion a faculty whose exercise re-
quircs some knowledge Of hygiene and common
sense. but whose theory is summed up In
single formula-read as you talk NJ Legouy6
holds. on the other hand that there is a vert-
able art Of reading, and he has prepared this
little volume TO clucidate what that art is
His first step is 70 lay down some striking
principles concerning the use OF the vocal mp
paratus; here he points out that although the
three varieties of voice. known as high. low and
medium. are all indispensable to effective inter-
probation. yet the latter is the strongest most
flexible. and natural Of the three; hence the
famous'actor Mole said. Without the middle
register. no reputation" NJ. Berrycr. we are
told once lost an excellent case by unconseously
beginning his plea on too high n key. Fatigue
spread from his larynX to his head. his thoughts
became involved. aud he lost part Of his brain
power. simply because it never occurred to him
10 descend from tho perch ut which his voice
had climbed when starting OF course. cultiva-
ton will strengthen weak voice. and We some
times hear that great artists made their own
voices. Ii Is certain that additional notes may
be gained by study. as in the case Of Malibran's
famous in alt OF (which she said. Il chased II for
a month pursued II eyerywhere-when was
dressing when / was doing my hair and at
last I In la tna Of gh hat I tvaa
putting on" Quite rs important as the adjust
ment OF tones Is the habit Of breathing properly.
which. according 10 NJ Legouve no one can Rc-
quire without study A bad reader does not
take breath often enough. while. on the other
hand. he spends 1t too freely. Talma found the
secret lay in inhaling before your lungs are
quite empty. and in order TO conceal this re-
poated inhalation from the public he strove 10
place 1t before 2. or o. that Is. at places where
his mouth being already open he could breathe
lightly and imperccptibly. According 10 our
more than the actor for long and important AZ
the latters part may L.. he always has times Of
forced rest, whereas the former may have 10 20
on without pause for an hour. In connection
with this topic. q curious example Of economy
applied to the breath is cited. The singer.
Dele Sedie. It appears, could run up and down
a scale before n fame. yet the light would never
flicker. Let an ordinary person try the same
experiment and he will see the candle culver at
every note
Some OF NJ. Legouv6's suggestions In regard 10
vocal punctuation are alal we'll worth attention.
But it is when he turns from tho mechanical
TO the aesthetic function Of reading that his con-
illusions are most novel and interesting A
man may be a correct reader. that is. he may un-
derstand the method Of blending his tones,
tuato exactly-stll no may not be q finished
reader. Nothing that he can do. perhaps. may
! deserve the name OF a fine art. To be worthy of
that name his reading must interpret the mas
| ter pieces of genius must disclose their capital
| significance and ilumine their hidden beau
| ties. This. OF course, exacts talent in the eX-
! FOUNDER. but even in his ease We must surren-
| der the axiom that We should read as we talk
conversation admits. even requires u certain
amount OF careless pronunciation. freedom OF
diction. and voluntary inaccuracy, graceful
enough in their place but which. OF course
would prove n stumbling block In the
exposition OF the works OF genius. After
listening to these ideas we are told ST
Beuve rejoined, BY your reckoning then
Il skilful reader is q good critic" That
is precisely the thesis which NJ. LeGouve under
takes 10 establish in three or four chapters Of
this treatise. He does not dwell long on tho
obvious truth that. 10 render properly tn,
beauties Of a poem. for instance. We must frs
understand them. But be COOS on To make good
n somewhat surprising assertion, namely, that
| reading aloud coniurs a power Of analyst,
| which silent reading can never give. Ho de-
| monstrates by experiments which any reader
may try for himself. that the ear is delicate sen
| sitve. and caryoyaut 10 degree inconcev
| able 10y the eve. In silent reading we run over