Abbildungen der Seite
PDF
EPUB

21. Vocal Consonant Sounds.-The second class are all vocal. This vocality, like that of the vowels, can in every case be made the basis of musical sounds, and sustained at any given point of the musical scale. But the power of prolongation is not possessed by all to the same extent. Three (b, d, g) admit of but slight prolongation, their vocality ceasing so soon as the mouth or throat is filled with air. They may, therefore, be called explosive vocal consonants. The remaining twelve, however, are prolongable at will, and may be called sustained vocal consonants.

[blocks in formation]

On comparing the aspirate and vocal consonants, it will be seen that each of several sounds of the first class has one corresponding to it in the second; the latter being distinguished from the former, not by a difference

of articulative mechanism, but by its vocality, and consequent power of being varied in pitch.

Thus p and b are alike formed by the closing and subsequent separation of the lips. The separation, however, which in the former is sudden, is in the latter preceded by a slight murmur or vocality, which lasts while the mouth is filling with air.

Similar relations may be observed between other aspirate and vocal consonants.

[merged small][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small]

In fact, the distinction here drawn is one of the first importance in the art of elocution. The vocal consonants partake much of the nature of vowels, and it is a pleasure to a good reader,' says Mr. Smart, when he has such sounds to utter. He dwells upon them, throws into them all the voice they are capable of receiving, and, through their means, mellows his whole pronunciation. But to an uncultivated reader all sounds come alike indifferent. He clutters them together, curtails them of their due length, deprives them of the share of voice which belongs to them, and thereby reduces them nearly all to mutes or aspirates.'

22. Practice on the Powers' of Consonants.--The process of articulation once clearly understood, each indivisible element must be made the object of separate exercise. The pupil should, first of all, sound each element by itself; that is, he should permit nothing more to escape from the organs than what constitutes

its real power. For example, in pronouncing g, b, or 8, the alphabetic name gee, bee, or ess should be disregarded, and the indivisible element alone given as heard in g-lue, b-read, or s-tate. And so on with the other elementary sounds.

By this means each element is, as it were, laid bare, and any defect in its formation is at once exposed. When words, not elements, are practised, faulty articulation is masked, and, especially in the case of the selftaught, allowed to pass undetected.

Moreover, when by practising sounds analytically, the student concentrates his attention upon single points, the degree in which he improves can be more accurately measured.

At the same time, the difficulty must be admitted of a neat, separate enunciation of the consonant sounds. The sustained consonant sounds are easily detached from their attendant vowel. H is a mere breathing, s a mere hissing, and sh the almost involuntary appeal for silence. These simple sounds we are in the habit of uttering without a thought that they are really detached articulations. There can, therefore, be no difficulty in uttering these at will, even without the exemplification of a teacher. The remaining sustained consonant sounds, both vocal and aspirate, are also of easy separate execution. It is otherwise, however, with the explosive sounds; and p, b, t, d, k, and g require long practice before a full command over their separate powers can be gained. In the absence of a teacher, the student cannot do better than follow the advice of Sheridan (the father of the orator and dramatist), who urged his pupils to practise the consonants with a preceding vowel, thus: ap, ab, at, ad, ak, ag. In this way the

consonant sounds falling last upon the ear, the student is enabled the more readily to judge of their respective powers.

23. Stammering. One of the gravest results of defective articulation is what is commonly known as stammering; and the importance of dealing with the evil will justify the inserting of a course of exercises with this special aim. (See Appendix III.)

24. Importance of Practice.-Tedious as may seem the foregoing detail, and wearisome as is the practice of the exercises in the Appendix, the student must be content to accept them as the best means of securing ultimate success in his art. Having been once obtained, the facility they bestow is never lost, while attempts to proceed before it is obtained will be followed by continual annoyance and discomfiture.

[ocr errors]

Let the student continue his practice till such pliancy in the organs is attained as will enable him to utter each elementary sound with precision and ease. Then, and not till then, should he pass on to the practice of their syllabic combinations. We know,' says Mr. Smart, 'that in the practice of almost every art, the inevitable consequence of aiming at expedition in the beginning is an imperfect manner of executing, which is to be got rid of only by returning to first principles. So it generally happens in pronunciation. Having learned.

to speak fast before we have acquired a correct utterance of the separate sounds, we must now return to these, and, when we are assured that our fundamental errors are eradicated, we may proceed by degrees to acquire facility; reading very slowly at first, dwelling on all the consonants, and making every one tell to the At length, the organs will become expert in their

ear.

office, will start into different positions with ease, and make a ready and smooth transition from one sound to another, without marring or confounding them. Thus will be gained a distinct, nervous articulation, free at the same time from any appearance of restraint or labour.'

25. Beauties and defects of Articulation.-The foregoing paragraphs have discussed in detail the processes of the articulative mechanism, and the corresponding lists in the Appendix have furnished the student with materials for training his organs. It remains to point out wherein the beauties and defects of articulation consist.

A speaker's articulation should accord with the particulars laid down by the Rev. Gilbert Austin in his 'Chironomia :

'In just articulation, the words are not hurried over, nor precipitated syllable over syllable; nor, as it were, melted together into a mass of confusion; they are neither abridged, nor prolonged, nor swallowed, nor forced, and, if I may so express myself, shot from the mouth; they are not trailed nor drawled, nor let to slip out carelessly, so as to drop unfinished. They are delivered from the lips as beautiful coins newly issued from the mint, deeply and accurately impressed, perfectly finished, neatly struck by the proper organs, distinct, sharp, in due succession, and of due weight.'

Now in order to acquire the beauty of articulation thus graphically detailed, the student should convert each particular embraced in the description into a definite precept. Omitting such of the author's expressions as are virtually synonymous, we may consider that perfect articulation involves the five qualities of-

Accuracy,
Distinctness,

Firmness, Deliberation.
Fluency, and

« ZurückWeiter »