THE VOICE

Organs of Speech. Although the effects produced by the human voice are myriad in their complexity, the apparatus involved in making the sounds which constitute speech is extremely simple. In construction it has been usually compared to an organ pipe, a comparison justifiable for imparting a non-technical understanding of its operation.

An organ pipe is a tube in which a current of air passing over the edge of a piece of metal causes it to vibrate, thus putting into motion the column of air in the pipe which then produces a note. The operating air is forced across the sounding piece of metal from a bellows. The tube in which the thin sounding plate and the column of air vibrate acts as a resonator. The resulting sound depends upon various sizes of the producing parts. If the tube is quite long the sound is low in pitch. If the tube is short the sound is high. Stopping the end of the pipe or leaving it open alters the pitch. A stopped pipe gives a note an octave lower than an open pipe of the same length. The amount of the vibrating plate which is allowed to move also determines the pitch of a note. If the air is under great pressure the note is loud. If the air is under little pressure the note is soft.

It is quite easy to transfer this explanation to the voice-producing apparatus in the human body.

To the bellows correspond the lungs from which the expelled air is forced upwards through the windpipe. The lungs are able to expel air regularly and gently, with no more expense of energy than ordinary breathing requires. But the lungs can also force air out with tremendous power—power enough to carry sound over hundreds of yards. In ordinary repose the outward moving breath produces no sound whatever, for it meets in its passage no obstruction.

Producing Tone. At the upper end of the windpipe is a triangular chamber, the front angle of which forms the Adam's apple. In this are the vocal cords. These cords are two tapes of membrane which can be brought closely together, and by muscular tension stretched until passing air causes them to vibrate. They in turn cause the air above them to vibrate, much as the air in an organ pipe vibrates. Thus tone is produced.

The air above the vocal cords may fill all the open spaces above the larynx—the throat, the mouth, the nasal cavity in the head, the nostrils. This rather large amount of air, vibrating freely, produces a sound low in pitch. The larger the cavities are made the lower the pitch. You can verify this by producing a note. Then place your finger upon your Adam's apple. Produce a sound lower in pitch. Notice what your larynx does. Sing a few notes down the scale or up to observe the same principle of the change of pitch in the human voice.

Producing Vowels. If the mouth be kept wide open and no other organ be allowed to modify or interrupt the sound a vowel is produced. In speech every part of the head that can be used is brought into action to modify these uninterrupted vibrations of vocal cords and air. The lips, the cheeks, the teeth, the tongue, the hard palate, the soft palate, the nasal cavity, all coöperate to make articulate speech.

As in its mechanism, so in the essence of its modifications, the human voice is a marvel of simplicity. If the mouth be opened naturally and the tongue and lips be kept as much out of the way as in ordinary breathing, and then the vocal cords be made to vibrate, the resulting sound will be the vowel a as in father . If now, starting from that same position and with that same vowel sound, the tongue be gradually raised the sound will be modified. Try it. The sound will pass through other vowels. Near the middle position it will sound like a in fate ; and when the tongue gets quite close to the roof of the mouth without touching it the vowel will be the e of feet . Others—such as the i of it —can be distinguished clearly.

Starting again from that same open position and with that same vowel sound, ah , if the tongue be allowed to lie flat, but the lips be gradually closed and at the same time rounded, the sound will pass from ah to the o of hope , then on to the oo of troop . The oa of broad and other vowels can be distinguished at various positions.

By moving lips and tongue at the same time an almost infinite variety of vowel sounds can be made.

Producing Consonants. In order to produce consonant sounds the other parts of the speaking apparatus are brought into operation. Everyone of them has some function in the formation of some consonant by interrupting or checking the breath. A student, by observing or feeling the motions of his mouth can easily instruct himself in the importance of each part if he will carefully pronounce a few times all the various consonant sounds of the language.

The lips produce the sounds of p , b , wh , and w . The lips and teeth produce the sounds of f , v . The tongue and teeth together make the sounds of th and dh . The tongue in conjunction with the forward portion of the hard palate produces several sounds— t , d , s , z , r , and l . The tongue operating against or near the rear of the hard palate pronounces ch , j , sh , zh , and a different r . To make the consonant y the tongue, the hard palate, and the soft palate operate. The tongue and soft palate make k and g . A strong breathing makes the sound of h . By including the nasal passages in conjunction with some of the other parts here listed the so-called nasals, m , n , and ng , are made. According to the organ involved our consonant sounds are conveniently grouped as labials (lips), dentals (teeth), linguals (tongue), palatals (palate), and nasals (nose).

The correct position and action of the vocal organs are of supreme importance to all speakers. Many an inveterate stammerer, stutterer, or repeater can be relieved, if not cured, of the embarrassing impediment by attention to the position of his speech organs and by careful, persistent practice in their manipula tion. In fact every speaker must be cognizant of the placement of these parts if he desires to have control over his speech. Frequently it is such correct placement rather than loud noise or force which carries expressions clearly to listeners.

While it is true that singing will strengthen the lungs and help in control of breath, it is not always the fact—as might be expected—that singing will develop the speaking voice. Not every person who can sing has a pleasant or forceful voice in ordinary discourse. In singing, to secure purity of musical tone, the vowels are likely to be disproportionately dwelt upon. Thus we have the endless la-la-la and ah-ah of so many vocal show-pieces. The same practice leads to the repeated criticism that it makes no difference whether a song be in English or a foreign language—the listeners understand just as much in either case.

In speaking effectively the aim and method are the exact opposite. When a man speaks he wants to be listened to for the meaning of what he is uttering. There are so many words in the language with the same or similar vowel sounds that only the sharpest discrimination by means of consonants permits of their being intelligible. The speaker, therefore, will exercise the greatest care in pronouncing consonants distinctly. As these sounds usually begin and end words, and as they are produced by rather sudden checks or interruptions, they can be made to produce a wave motion in the air which will carry the entire word safely and clearly beyond the ear into the understanding. In public speaking no amount of care and attention bestowed upon pronouncing consonants can be spared.

Tone. The most marked quality of a person's voice is its tone. It will be enough for the purposes of this manual to assert that the tone should be both clear and agreeable. In public speaking the first of these is all important, though an absence of the second qualification may almost neutralize all the advantages of the first. Clearness may be impaired by several causes. The speaker may feel that his throat closes up, that he becomes choked. His tongue may become stiff and "cleave to the roof of his mouth"—as the feeling is popularly described. He may breathe so energetically that the escaping or entering air makes more noise than the words themselves. He may be more or less conscious of all these. The others he may not discover for himself. The instructor or members of the class will inform him of their presence. Set jaws will prevent him from opening his mouth wide enough and operating his lips flexibly enough to speak with a full tone. A nasal quality results mainly from lack of free resonance in the head and nose passages. Adenoids and colds in the head produce this condition. It should be eradicated by advice and practice.

Usually whatever corrections will make the tone clearer will also make it more agreeable. The nasal pessimistic whine is not a pleasant recommendation of personality. High, forced, strident tones produce not only irritation in the listener but throat trouble for the speaker.

Articulate—that is, connected—speech may be considered with reference to four elements, all of which are constantly present in any spoken discourse.

Speed. First, there is the speed of delivery. An angry woman can utter more words in a minute than any one wants to hear. The general principle underlying all speech delivery is that as the audience increases in number the rapidity of utterance should be lessened. Those who are accustomed to addressing large audiences, or to speaking in the open air, speak very slowly. A second consideration is the material being delivered. Easily grasped narrative, description, and explanation, simply phrased and directly constructed, may be delivered much more rapidly than involved explanation, unfamiliar phraseology, long and intricate sentence constructions, unusual material, abstract reasoning, and unwelcome sentiments. The beginnings of speeches move much more slowly than later parts. A speaker who intends to lead an audience a long distance, or to hold the attention for a long time, will be extremely careful not to speak at the beginning so rapidly that he leaves them far behind.

This does not mean that a speaker must drawl his words. One of our national characteristics is that we shorten our words in pronouncing them— ing generally loses the g, does not has become doesn't and quite incorrectly don't, yes is yeeh , etc. In many cases nothing more is required than the restoration of the word to its correct form. Some words can easily be lengthened because of the significance of their meanings. Others must be extended in order to carry. The best method of keeping down the rate of delivery is by a judicious use of pauses. Pauses are to the listener what punctuation marks are to the reader. He is not conscious of their presence, but he would be left floundering if they were absent. Some of the most effective parts of speeches are the pauses. They impart clearness to ideas, as well as aiding in emphasis and rhythm.

Pitch. A second quality of speech is its pitch. This simply means its place in the musical scale. Speaking voices are high, medium, or low. Unfortunate tendencies of Americans seem to be for women to pitch their voices too high, with resultant strain and unpleasantness, and for men to pitch their voices too low, with resultant growls and gruffness. The voices of young children should be carefully guarded in this respect; so should the changing voices of growing boys. To secure a good pitch for the speaking voice the normal natural pitch of usual conversation should be found. Speech in that same pitch should be developed for larger audiences. Frequently a better pitch can be secured by slightly lowering the voice. If the natural pitch be too low for clearness or agreeableness it should be slightly raised—never more than is absolutely necessary.

No connected group of words should be delivered in a monotonously level pitch. The voice must rise and fall. These changes must answer intelligently to the meaning of the material. Such variations are called inflections. The most disagreeable violations of required inflections are raising the voice where it should fall—as at the completion of an idea, and letting it drop where it should remain up—as before the completion of an idea, frequently answering to a comma. Other variations of pitch depend upon emphasis.

Emphasis. Emphasis is giving prominence to a word or phrase so that its importance is impressed upon a listener. This result is most easily secured by contrast. More force may be put into its delivery than the rest of the speech. The word may be made louder or not so loud. The voice may be pitched higher or lower. The word may be lengthened. Pauses will make it prominent. In speaking, combinations of these are employed to produce emphasis.

While all qualities of speech are important, emphasis is of cardinal value. Listeners will never recall everything that a speaker has said. By a skilful employment of emphasis he will put into their consciousness the main theme of his message, the salient arguments of his contention, the leading motives of action. Here again is that close interdependence of manner and material referred to in the preceding chapter. In later chapters will be discussed various methods of determining and securing emphasis of larger sections than mere words and phrases.

Phrasing. Somewhat related to emphasis is phrasing. This is the grouping together of words, phrases, clauses, and other units so that their meaning and significance may be easily grasped by a listener. As has been already said, pauses serve as punctuation marks for the hearer. Short pauses correspond to commas, longer ones to colons and semi-colons, marked ones to periods. Speakers can by pauses clearly indicate the conclusions of sections, the completion of topics, the passage from one part of the material to another, the transfer of attention from one subject to its opposite. Within smaller range pauses can add delightful variety to delivery as they can signally reinforce the interpretation. No speaker should fall into the habit of monotonously letting his pauses mark the limit of his breath capacity, nor should he take any regular phrase, clause, or sentence length to be indicated by pauses. In this as in all other aspects variety is the charm of speech.

Enunciation. No matter what handicaps a person may have he may overcome them to secure a distinct, agreeable enunciation. Care in enunciating words will enable a speaker to be heard almost anywhere. It is recorded that John Fox, a famous preacher of South Place Chapel, London, whose voice was neither loud nor strong, was heard in every part of Covent Garden Theatre, seating 3500, when he made anti-corn-law orations, by the clearness with which he pronounced the final consonants of the words he spoke.

One of the orators best known to readers is Edmund Burke, whose speeches are studied as models of argumentative arrangement and style. Yet in actual speech-making Burke was more or less a failure because of the unfortunate method of his delivery. Many men markedly inferior in capacity to Burke overcame disadvantageous accidents, but he was frequently hurried and impetuous. Though his tones were naturally sonorous, they were harsh; and he never divested his speech of a strong Irish accent. Then, too, his gestures were clumsy. These facts will ex plain to us who read and study leisurely these masterpieces why they failed of their purpose when presented by their gifted but ineffective author.

Pronunciation. Enunciation depends to a great degree upon pronunciation. The pronunciation of a word is no fixed and unchangeable thing. Every district of a land may have its peculiar local sounds, every succeeding generation may vary the manner of accenting a word. English people today pronounce schedule with a soft ch sound. Program has had its accent shifted from the last to the first syllable. Many words have two regularly heard pronunciations— neither, advertisement, Elizabethan, rations, oblique, route, quinine , etc. Fashions come and go in pronunciation as in all other human interests. Some sounds stamp themselves as carelessnesses or perversions at once and are never admitted into educated, cultured speech. Others thrive and have their day, only to fade before some more widely accepted pronunciation. The first rule in pronunciation is to consult a good dictionary. This will help in most cases but not in all, for a dictionary merely records all accepted sounds; only partly can it point out the better of disputed sounds by placing it first. Secondly, speech is a living, growing, changing thing. Dictionaries drop behind the times surprisingly rapidly. The regularly accepted sound may have come into general use after the dictionary was printed. New activities, unusual phases of life may throw into general conversation thousands of unused, unheard words. This was true of the recent Great War, when with little or no preparation thousands of military, in dustrial, naval, and aeronautical terms came into daily use. Discussions still flutter mildly around cantonment and rations , and a score of others.

Next to authoritative books, the best models are to be secured from the speech of authorities in each branch to which the term specifically belongs. Thus the military leaders have made the pronunciation of oblique with the long i the correct one for all military usages. The accepted sound of cantonments was fixed by the men who built and controlled them. As it is not always possible for the ordinary person to hear such authorities deliver such terms in discourse one can merely say that a familiarity with correct pronunciation can be secured only like liberty—at the price of eternal vigilance.

Constant consultation of the dictionary and other books of recognized reference value, close observance of the speech of others, scrutiny of one's own pronunciation, mental criticism of others' slips, and determination to correct one's own errors, are the various methods of attaining certainty of correct delivery of word sounds.

Poise. When a speaker stands before an audience to address its members he should be perfectly at ease. Physical ease will produce an effect upon the listeners. Mental ease because of mastery of the material will induce confidence in the delivery. Bodily eccentricities and awkwardness which detract from the speech itself should be eradicated by strenuous practice. Pose and poise should first command respectful attention. The body should be erect, but not stiff. Most of the muscles should be relaxed. The feet should be naturally placed, not so far apart as to suggest straddling, not so close together as to suggest the military stand at "attention."

What should be done with the hands? Nothing. They should not be clasped; they should not be put behind the back; they should not be jammed into pockets; the arms should not be held akimbo; they should not be folded. Merely let the arms and hands hang at the sides naturally.

Gestures. Should a speaker make gestures? Certainly never if the gesture detracts from the force of an expression, as when a preacher pounds the book so hard that the congregation cannot hear his words. Certainly yes, when the feeling of the speaker behind the phrase makes him enforce his meaning by a suitable movement. In speaking today fewer gestures are indulged in than years ago. There should never be many. Senseless, jerky, agitated pokings and twitchings should be eradicated completely. Insincere flourishes should be inhibited. Beginners should beware of gestures until they become such practised masters of their minds and bodies that physical emphasis may be added to spoken force.

A speaker should feel perfectly free to change his position or move his feet during his remarks. Usually such a change should be made to correspond with a pause in delivery. In this way it reinforces the indication of progress or change of topic, already cited in discussing pauses.

Delivery. A speaker should never begin to talk the very instant he has taken his place before his audience. He should make a slight pause to collect the attention before he utters his salutation (to be considered later) and should make another short pause between it and the opening sentences of his speech proper. After he has spoken the last word he should not fling away from his station to his seat. This always spoils the effect of an entire address by ruining the impression that the last phrase might have made.

As for the speech itself, there are five ways of delivering it:

1. To write it out in full and read it.

2. To write it out in full and commit it to memory.

3. To write out and memorize the opening and closing sentences and other especially important parts, leaving the rest for extempore delivery.

4. To use an outline or a brief which suggests the headings in logical order.

5. To speak without manuscript or notes.

Reading the Speech. The first of these methods—to read the speech from a prepared manuscript—really changes the speech to a lecture or reading. True, it prevents the author from saying anything he would not say in careful consideration of his topic. It assures him of getting in all he wants to say. It gives the impression that all his utterances are the result of calm, collected thinking. On the other hand, so few people can read from a manuscript convincingly that the reproduction is likely to be a dull, lifeless proceeding in which almost anything might be said, so little does the material impress the audience. This method can hardly be considered speech-making at all.

Memorizing the Speech. The second method—of repeating memorized compositions—is better. It at least seems alive. It has an appearance of direct address. It possesses the other advantages of the first method—definite reasoning and careful construction. But its dangers are grave. Few people can recite memorized passages with the personal appeal and direct significance that effective spoken discourse should have. Emphasis is lacking. Variety is absent. The tone becomes monotonous. The speech is so well committed that it flows too easily. If several speakers follow various methods, almost any listener can unerringly pick the memorized efforts. Let the speaker in delivery strive for variety, pauses, emphasis; let him be actor enough to simulate the feeling of spontaneous composition as he talks, yet no matter how successful he may be in his attempts there will still be slight inconsistencies, trifling incongruities, which will disturb a listener even if he cannot describe his mental reaction. The secret lies in the fact that written and spoken composition differ in certain details which are present in each form in spite of the utmost care to weed them out.

Memorizing Parts. The third manner can be made effective if the speaker can make the gap just described between written and spoken discourse extremely narrow. If not, his speech will appear just what it is—an incongruous patchwork of carefully prepared, reconsidered writing, and more or less spontaneously evolved speaking.

Speaking from Outline or Brief. The fourth method is by far the best for students training themselves to become public speakers. After a time the brief or outline can be retained in the mind, and the speaker passes from this method to the next. A brief for an important law case in the United States Supreme Court is a long and elaborate instrument. But a student speaker's brief or outline need not be long.

Directions, models, and exercises for constructing and using outlines will be given in a later chapter.

The Best Method. The last method is unquestionably the best. Let a man so command all the aspects of a subject that he fears no breakdown in his thoughts, let him be able to use language so that he need never hesitate for the best expression, let him know the effect he wants to make upon his audience, the time he has to do it in, and he will know by what approaches he can best reach his important theme, what he may safely omit, what he must include, what he may hurry over, what he must slowly unfold, what he may handle lightly, what he must treat seriously; in short, he will make a great speech. This manner is the ideal towards which all students, all speakers, should strive.

Attributes of the Speaker. Attributes of the speaker himself will aid or mar his speech. Among those which help are sincerity, earnestness, simplicity, fairness, self-control, sense of humor, sympathy. All great speakers have possessed these traits. Reports upon significant speakers describing their manner emphasize them. John Bright, the famous English parliamentarian of the middle of the last century, is described as follows:

In American history the greatest speeches were made by Abraham Lincoln. In Cooper Union, New York, he made in 1860 the most powerful speech against the slave power. The New York Tribune the next day printed this description of his manner.

Shakespeare's Advice. Some of the best advice for speakers was written by Shakespeare as long ago as just after 1600, and although it was intended primarily for actors, its precepts are just as applicable to almost any kind of delivered discourse. Every sentence of it is full of significance for a student of speaking. Hamlet, Prince of Denmark, is airing his opinions about the proper manner of speaking upon the stage.

EXERCISES

1. 'Neath our feet broke the brittle bright stubble like chaff.

2. The first sip of love is pleasant; the second, perilous; the third, pestilent.

3. Our ardors are ordered by our enthusiasms.

4. She's positively sick of seeing her soiled, silk, Sunday dress.

5. The rough cough and hiccough plowed me through.

6. She stood at the gate welcoming him in.

7. Five miles meandering with a mazy motion.

8. Peter Piper picked a peck of pickled peppers: if Peter Piper picked a peck of pickled peppers, where is the peck of pickled peppers that Peter Piper picked?

9. Theophilus Thistle, the thistle-sifter, sifted a sieve of unsifted thistles. If Theophilus Thistle, the thistle-sifter, sifted a sieve of unsifted thistles, where is the sieve of unsifted thistles that Theophilus Thistle, the thistle-sifter, sifted?

10. Alone, alone, all, all alone,
Alone on a wide, wide sea!

11. The splendor falls on castle walls,
And snowy summits old in story.

12. Tomorrow and tomorrow and tomorrow
Creeps in this petty pace from day to day
To the last syllable of recorded time.

13. The moan of doves in immemorial elms,
And murmurings of innumerable bees.

14. The Ladies' Aid ladies were talking about a conversation they had overheard, before the meeting, between a man and his wife.

"They must have been at the Zoo," said Mrs. A.; "because I heard her mention 'a trained deer.'"

"Goodness me!" laughed Mrs. B. "What queer hearing you must have! They were talking about going away, and she said, 'Find out about the train, dear.'"

"Well, did anybody ever!" exclaimed Mrs. C. "I am sure they were talking about musicians, for she said, 'a trained ear,' as distinctly as could be."

The discussion began to warm up, and in the midst of it the lady herself appeared. They carried the case to her promptly, and asked for a settlement.

"Well, well, you do beat all!" she exclaimed, after hearing each one. "I'd been out in the country overnight and was asking my husband if it rained here last night."

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