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book form what the reference list in Werner's Directory (Publisher, E. S. Werner, New York), has done for parlor elocution in pamphlet form.

Unity as well as conciseness has been gained by the consideration of College Oratory as forensic rather than dramatic. However, in the matter of gesture, because of the inter-relation of the objective and subjective forms, a "Chart of Dramatic Gestures, mainly Subjective," has been included. (See pp. 92, 93.)

Unity has been further gained by the constant use of the method of Induction. A hint has been taken from Mr. Rosenthal's method of instruction in foreign languages. Instead of beginning with a "foundation sentence," however, there is a reversal of the "Meisterschaft System" in that each lesson leads up to one. Furthermore, the fact that this example is, in each instance, the same, saves the student time in committing a variety of texts, confines to one selection the tendency toward mechanical rendition incident upon crowding into it every variety of emphasis and gesture, and, above all, reveals the close connection between all the parts of the subject, and this to an extent attainable by no other method.

The principles, especially those printed in large type, may be studied for recitation in the class-room. The praxis should be subsequently rehearsed by the students singly or in small divisions.

The Selections of Princeton College Oratory are especially intended to illustrate the lesson upon Oratorical Composition. As the actual work of undergraduates, they are more inspiriting models than the classics of oratory to be found in the books for which the reference list is a guide, although some of these classics are also given with the appropriate marks for inflection and gesture.

As examples of actual college themes there is added a list of subjects of Princeton Junior Orations for ten years back.

The method of this "Speaker" is that also of the two other books to follow, "The Writer" and "The Debater," written by members of the Department of Oratory and Esthetic Criticism of Princeton College.

As in the preface to the "Orator's Manual," so again here, a sense of indebtedness for valuable suggestions, with reference to the subjects treated in this book, over and beyond what seems to be common property, needs to be expressed to S. M. Cleveland, M.D., of Philadelphia, formerly Professor of Rhetoric and Oratory in the University of Pennsylvania; C. J. Plumptre, author of "Lectures on Elocution" in King's College, London, and Emilio Belari, Professeur de Chant, Paris; also to the following, especially, among the many works of merit on elocution that have been written in this country: "The Philosophy of the human Voice," by James Rush, M. D.; "The Culture of the Voice," by James E. Murdoch and William Russell; "Reasonable Elocution," by F. Taverner Graham, and the various publications of Professor L. B. Monroe, of the Boston School of Oratory.

Nothing was said in the "Orator's Manual" of any indebtedness to Delsarte. This was because, at the time when it was prepared, in 1878, the only knowledge, if any, that the author had of the system of the great French master, had been derived in Paris through secondary sources. What had thus been derived was undoubtedly Delsartean, and probably directly due to Delsarte, in the sense that it caused the author in all cases to search for psychological reasons to account for the uses of the various elements of expression. But that the particular reasons assigned by him and embodied in the explanations of the book were his own, any one who will compare with any previous presentations of these subjects such chapters as those treating of pitch, stress, and the meanings of gestures, will soon discover. That the "Orator's Manual " is used as a text-book in many distinctively Delsarte Schools, and never in so many of these as at present, merely proves the importance of method and the substantial agreement of results to which similar methods inevitably tend.

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