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As was discussed in the chapter on Monotony naturalnes at least apparent naturalis is much to be sought, and a constant shift in tempo will help to establish it. Recently, Miss Margaret Anglin's stage manager, Mr. Howard Lindsay, told the present writer that one of the actor's most useful weapons was change of pace. Although many actors' awkward mouthings point to distorted mirrors, the public speaker would still be wise to examine how the actor uses tempo.But once gone, naturalism is shy of recuperation however, there is a more basic and efficient source from which to learn this quality: that source is the common speech of  every well-bred circle. With certain variations, of course, which will show up on stage and platform, this is the benchmark we aim for. Much of the fascination would depart the public utterance if speaker and actor were to imitate exactly every variation of utterance—every whisper, grunt, pause, quiet, and burst of discourse as we find it usually in daily life. Naturalness in public speech is the reproduction of those typical elements of nature's work  clover was waving honey-bees a bird over there Roundelayed a soft air but the man could not spare time for gathering flowers or.

Which are really reflective of the total not only

Faithful reproduction of nature. The realistic story-writer recognizes this in creating dialogue, and we have to consider this while looking for naturalness by varying tempo. Imagine yourself speaking the first of the following words slowly and then rapidly, noticing how naturally the effect is produced. Speak then with the same speed and note the variations. What I performed with my knife is lost to me. Oh, now I recall I handed it to Mary. Here we find that a change of tempo usually fits the same sentence: for tempo relates not only to single words, groups of words, and sentences but also to the main points of a public speech.See him there; gloomy and frigid, See him attempting to play; No, he started to learn too late and does not know how. She is Fate, a cruel old woman who let him have his treasure, so allowing Knowing what the cost would be, smiling to herself the other side, When he discovered the Golden Key. Many times more wealthy than we are, multimillionaire is he; yet, at that point I wouldn't swap with the bargain he created. came here some years ago. Not someone known to him; Had the money-hunger bad? Mad for money, piggish mad; didn't allow a delight divert him, Didn't let a sorrow distress him, allow his friends and kin forsake him, On his search for money and power, he plotted, plugged, hurried. Every single waking hour with a financial idea he would have dower; He got colder all the while, growing bolder but also older. And he believed, one day He would have time to play; but, say—he was mistaken. Life is a song; springtime Youth can sing and fling; but, delights fly. Like birds in colder months, when we are older. The roses were red as he rushed by; magnificent tapestries hung in the heavens the.

Resting in bowers or gazing at skies That gladdened the eyes

He thus continued and swept across average, dismal years. Right now, he is in the choicest of stock. He owns countless blocks of homes and businesses, and the stream never pauses to feed his banks. He probably comes in really close to the top. What I have wouldn't satisfy His ambition one tittle; however, with my meager means I don't want to exchange with the contract he made. Just see him attempting to play today. He arrived back forAny significant tempo variation is forceful and will draw attention. although a passenger train slows down very quickly to a ten-mile pace, your attention will be rather clearly drawn to it even although you might hardly be aware that a passenger train is moving when it is screaming over the rails at ninety miles an hour. You might forget that you are listening to music as you eat, but let the orchestra either speed up or slow down its tempo in a very notable degree; your attention will be immediately diverted. This same idea will give a speech great weight. Make a quick and strong change in tempo if you have a point you wish to strongly convey to your audience and they will be unable to keep from noticing that point. The present writer recently saw a drama where these phrases were uttered: "I don't want you to forget what I said. Remember it the longest day you have; it makes no difference whether or not you have six firearms." The actor talked to drew a handgun, so the part up to the sprint was delivered at a very slow tempo while the remainder was named out at light speed. Though most of the play has vanished from memory, the effect was so strong that the lines are remembered six months later. The learner with capabilities of observation will notice this idea followed by all our best actors in their attempts to get focus where it is deserved. But keep in mind that the feeling in the matter.

While working on change of pace thought instead

Of rules should guide you. Which part of a statement is delivered slowly and which is given fast tempo usually has no effect at all. The transformation itself is the main thing one wants. For instance, examine the last phrase in the choice "The Mob," on page 46. Reverse the directions given, delivering everything marked for slow speed, rapidly; and everything marked for fast tempo, gradually. The force or meaning of the paragraph has not been eradicated, as you will see. Many passages, nonetheless, cannot be slowed down without sacrificing their intensity. Examples: the Patrick Henry speech on page 110 and the following from Whittier's "Barefoot Boy beautiful skies. But they are in a different disguise: Winter's here, all is gray, The birds are flown, The meadows are brown, The leaves are aground, And the merry brook winding with a whirling and whirling of waters is furling its breast in ice. And he hasn't the price; he bought what he sold from all of his gold. Now he understands the cost of the spring-time he missed, of the flowers he threw from his path, and of whatever price he would pay if the day could be made less dreary. He is not able to play. has to be justified by the degree of intensity in the way. Otherwise, the result will be absurd. There are far too many outstanding public speakers over nothing.