The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1897-07-28
THE NEW ELOCrTION.

The National Association Of Elocut;on-
lists recently held . convention In New
York, and one OF It's features was an adj
called. Ii may be a very excellent method
when It il understood, bat IL has fad
dishnese about Ii which will make teach
ers Of the orthodox school hesitate 10 put
It into practice until It's prac;icabillty has
been batter demonstrated.
The motive In the new method Is 70
force out the expression through the
thought" The orthodox system Is TO suit
the gesture and the tone to the express
sion, and although It " carried no further.
tho system might be appositeIy termed
forcing the thought through the express
sion." The teaching of elocution has
undergone a great change In recent years.
and II has resulted In q much improved
school. There was a time when elocution
consisted OF a series of technical rules ap-
piled TO information and action. which pro-
duced a ssiited ana affected mannerism.
Eiocutton as the agent of oratory and
recitation is no. taught as It was. and al
though the affectation Is gone, the art of
public speaking has declined. This is not
due. We believe. 10 defects In the system
SO much as to a neglect Of the art itself.
The present generation does net boast OF
the number of famous orators which
marked either the earlier days in this ma
tons history or the earlier years Of
Queen victoria's reign in England.
This Is TO be regretted. but the new eio-
cution Is not calculated to improve this
condition. The doctrine OF the new school
IL that II the mental action be right the
expression viii be right. BY mental &C
ton, II is explained. Is meant the whole
as reason. Imagination and emotion. Blu,
the same might be said of music and the
result would be the same. An excellent
voice and correct ear are absolutely
necessary to make good singer, but
without technical NEUTRALITY-SUSPICIOUS., me-
unplessing artist would be presented.
Thoughts In music or In oratory might
be clear and prolific in imagination and
emotion. yet be lost in the natural and
unframed expression.
Such speakers as Abraham Lincoln do
not need training. but such speakers are
exceedingly rare. Very eloquent writer's
are not often eloquent speakers on the
contrary. their thoughts lose force. eff
fectiveness and rleasingness through the
lack of merely mechanical and physical
training. The strengthening and modu-
lRtion of the voice are as essential In
speaking as In singing. and very charm
Ing and entertaining conversationaiIst
Eaay he awkward and unimpressive on the
platform. Neither a loud voice nor ranto-
mimic action take the place of intelii-
gent expression. of course but the use
of the voice in large assemblies and the
observance OF appropriate gesture can
only come 10 most men with practice
and even auxiliary training.
IL mere comprehension OF tho thought
sufslced. actors need only study their
authors. Not only is this untrue, but
it is we'll known that adventurous aid
is even needed TO adapt the countenance
20 the distance, elevation and lights OF
the stage. The expression may be
forced through the thought. but IL is
much more natural and practicable in
art to force the thought through the ex-
preston.