Page 32 - The model orator, or, Young folks' speaker : containing the choicest recitations and readings from the best authors for schools, public entertainments, social gatherings, Sunday schools, etc. : including recitals in prose and verse ...

LKS50N TALE.

The power of a reader to hold tlie audience iti descriptive se’.cetious like this
depends almost altogether upon hisaljL jl.y to make the scenes described vivid ;o I he
imagination of ttie hearers. To make this cspeeiaL selection suggestive depends
largely upon thy power to suggest distance ;-ihL si nr: 1 :h Le mi <jl"1 io.
1. Assume a bright, cxpcttaat attitude. The physical attitude has a subtle hut
positive reflex upon the voice, K^tfiud tLie right arm asm Figure 2, thus cailnig
the fie^ms’ attention at oiicc to )onr story. Let the arm sink naturally aad
gratefully to I’ric iidii Ti'hile you arc aljsorbud in Hit description of tho deli.
Seek LofeeL the influence of tlie spot and tho time yourself You do not feei
the same influence from twilight 1hat you do from the " uoon-tide glory*' of the
sun, hence you 'will naturally sofic« tlie voif-e in referring to the former, find wiLl
givo a more ghmdng description of tho latter. Send tho voice out full, rich and
free with every eaik just as you would call in the forest to companionsytadis'anee.
Throw up the ami and hand in glad fcMuUfslion, Then resound tho echo in a tone
one key higher a:id resounded in the e.Hvtly of the jrioutli n-.ther Ilian set it freely
forth, all (La while maintaining a listening attitude and looking expectantly
towards your audience.
2. IJave all locafities deTifutely fi^ed it! your own initio—ihe direction hi
vrtiieh. the ferrn jiml ;.Ls df.'ll lie, the th reckon of the tovi'n. In the th.^t lino of this
veisc sweep the ri^ht hand out ireeiy to point to wards tiie distant farm, then
indicate the 1 cushion of moss,1’ then the overhanging vines !,et llio h>\nd fait
freely and gently open i:i these gestures. Ttke carcnevo:- to have gesture in easy
dftiCripti vft (,ir conversational pieces, cither abrupt or angular. In 4th line, let tluj
attitud;: indicate the uplifted mitid anil souk sinking the voice to express reverent
emotion In the last three lines make the silence, the Email, a, positive 0110, Lyyour
own attitude and stilled, hushed tones, taking care however to keep thm mind on
the farth-est os" your uLidieuee, no as to influence your Softest lories to- reach them,
3. As-siune w.:: 1 the brtghi, animated attitude expressive of hounding life and
joy ill nature, !S”o gestures are necessary here. Too sli iti y ges( nros are Ldways
to be avoided They ere iu good taste oniy ^lien absolutely needed to make vivid
the pictures. Speak in ail easy, conversation^ tOf:C here, tho more* conversational
(lie hette:1, 'LVs'k 1with your <audienee. irotovor (heir heads or at them.
4. Use n;.;ain the gesture of signalling (Figure Si, ueckou your audience with
you. Then Let itmi. gr-siure glide easily into one poi uting towards the farm, iet.tin^
tti-^ hand fall easily to the sidu as you tel: in joyous tones of the musha; treat in
that dell.
5. Again, the interested, conversational ton^, T:i ^hird line, assume again the
listening attitude hut. looking expectantly towards yuur audience, poiut far a way
to the churdi, and re?.d thr- Line m a tone indicating that yoa iin- now her.ring the
liell 1'ar :^vny and ike very s-ji'jll. of the sound causes you to *puak iu a similar tone.
Tliis ia no trick ; we do it constantly iu cveiyday life. We ii;iturally seek to imi­
tate sounds in the effort totlcseribe them.