A TALK TO PREACHERS

The aim of one who would interpret literature to others, by means of the speaking voice, should be first to a.s.similate its spirit. There can be no worthy or adequate rendering of a great poem or prose selection without a keen appreciation of its inner meaning and content. This is the princ.i.p.al safeguard against mechanical and meaningless declamation.

The extent of this appreciation and grasp of the inherent spirit of thought will largely determine the degree of life, reality, and impressiveness imparted to the spoken word.

The intimate relationship between the voice and the spirit of the speaker suggests that one is necessary to the fullest development of the other. The voice can interpret only what has been awakened and realized within, hence nothing discloses a speaker's grasp of a subject so accurately and readily as his attempt to give it expression in his own language. It is this spiritual power, developed princ.i.p.ally through the intuitions and emotions, that gives psychic force to speaking, and which more than logic, rhetoric, or learning itself enables the speaker to influence and persuade men.

The minister as an interpreter of the highest spiritual truth should bring to his work a thoroughly trained emotional nature and a cultivated speaking voice. It is not sufficient that he state the truth with clearness and force; he must proclaim it with such pa.s.sionate enthusiasm as powerfully to move his hearers. To express adequately the infinite shades of spiritual truth, he must have the ability to play upon his voice as upon a great cathedral organ, from "the soft lute of love" to "the loud trumpet of war."

To a.s.sume that the study of the art of speaking will necessarily produce consciousness of its principles while in the act of speaking in public, is as unwarranted as to say that a knowledge of the rules of grammar, rhetoric, or logic lead to artificiality and self-consciousness in the teacher, writer, and thinker. There is a "mechanical expertness preceding all art," as Goethe says, and this applies to the orator no less than to the musician, the artist, the actor, and the litterateur.

Let the minister stand up for even five minutes each day, with chest and abdomen well expanded, and p.r.o.nounce aloud the long vowel sounds of the English language, in various shades of force and feeling, and shortly he will observe his voice developing in flexibility, resonance, and power.

For it should be remembered that the voice grows through use. Let the minister cultivate, too, the habit of breathing exclusively through his nose while in repose, fully and deeply from the abdomen, and he will find himself gaining in health and mental resourcefulness.

For the larger development of the spiritual and emotional powers of the speaker, a wide and varied knowledge of men and life is necessary. The feelings are trained through close contact with human suffering, and in the work of solving vital social problems. The speaker will do well to explore first his own heart and endeavor to read its secret meanings, preliminary to interpreting the hearts of other men. Personal suffering will do more to open the well-springs of the heart than the reading of many books.

Care must be had, however, that this cultivating of the feelings be conducted along rational lines, lest it run not to faith but to fanaticism. There is a wide difference between emotion designed for display or for momentary effect, and that which arises from strong inner conviction and sympathetic interest in others. Spurious, unnatural feeling will invariably fail to convince serious-minded men.

"Emotion wrought up with no ulterior object," says Dr. Kennard, "is both an abuse and an injury to the moral nature. When the attention is thoroughly awakened and steadily held, the hearer is like a well-tuned harp, each cord a distinct emotion, and the skilful speaker may evoke a response from one or more at his will. This lays him under a great and serious responsibility. Let him keep steadily at such a time to his divine purpose, to produce a healthful action, a life in harmony with G.o.d and a symphony of service."

The emotional and spiritual powers of the speaker will be developed by reading aloud each day a vigorous and pa.s.sionate extract from the Bible, or Shakespeare, or from some great sermon by such men as Bushnell, Newman, Beecher, Maclaren, Brooks, or Spurgeon. The entire gamut of human feeling can be highly cultivated by thus reading aloud from the great masterpieces of literature. The speaker will know that he can make his own words glow and vibrate, after he has first tested and trained himself in some such manner as this. Furthermore, by thus fitting words to his mouth, and a.s.similating the feelings of others, he will immeasurably gain in facility and vocal responsiveness when he attempts to utter his own thoughts.

Music is a powerful element in awakening emotion in the speaker and bringing to consciousness the mysterious inner voices of the soul. The minister should not only hear good music as often as possible, but he should train his ear to recognize the rhythm and melody in speech.

For the fullest development of this spiritual power in the public speaker there should be frequent periods of stillness and silence. One must listen much in order to acc.u.mulate much. Thought and feeling require time in which to grow. In this way the myriad sounds that arise from humanity and from nature can be caught up in the soul of the speaker and subsequently voiced by him to others.

The habit of meditating much, of brooding over thought, whether it be our own or that of others, will tend to disclose new and deeper meanings, and consequently deeper shades and depths of feeling. The speaker will diligently search for unwritten meanings in words; he will study, whenever possible, masterpieces of painting and sculpture; he will closely observe the natural feeling of well-bred children, as shown in their conversation; and in many other ways that will suggest themselves, he will daily develop his emotional and spiritual powers of expression.

The science of preaching is important, but so, too, is the art of preaching. A powerful pulpit is one of the needs of the times. A congregation readily recognizes a preacher of strong convictions, broad sympathies, and consecrated personality. An affectionate nature in a minister, manifesting itself in voice, face, and manner, will attract and influence men, while a harsh, rigid, vehement manner will as easily repel them.

It is to be feared that many sermons are written with too much regard for "literary deportment on paper," and too little thought of their value as pulsating messages to men.

The preacher should train himself to take tight hold of his thought, to grip it with mental firmness and fervor, that he may afterward convey it to others with definiteness and vigor. Thoughts vaguely conceived and held tremblingly in the mind will manifest a like character when uttered. Into the writing of the sermon put vitality and intensity, and these qualities will find their natural place in delivery. Thrill of the pen should precede thrill of the voice. The habit of d.i.c.kens of acting out the characters he was depicting on paper could be copied to advantage by the preacher, and frequently during the writing of his sermon he might stand and utter his thoughts aloud to test their power and effectiveness upon an imaginary congregation.

There should be the most thorough cultivation of the inner sources of the preacher, whereby the spiritual and emotional forces are so aroused and brought under control as to respond promptly and accurately to all the speaker's requirements. There should be a.s.siduous training of the speaking voice as the instrument of expression and the natural outlet for thought and feeling. In the combined cultivation of these two essentials of expression--spirit and voice--the minister will find the true secret of effective pulpit preaching.

CARE OF THE SPEAKER'S THROAT

The throat as a vital part of the public speaker's work in speaking is worthy of the greatest care and consideration. It is surprising that so little attention is given to vocal hygiene, when it is remembered that a serious weakness or affection of the throat may disqualify a speaker for important work. The delicate and intricate machinery of the vocal apparatus renders it peculiarly susceptible to misuse or exposure. The common defects of nasality, throatiness, and harshness, are due to wrong and careless use of the speaking-instrument.

In the training of the public speaker the first step is to bring the breathing apparatus under proper control. That is to say, the speaker must accustom himself, through careful practise, to use the abdominal method of breathing, and to keep his throat free from the strain to which it is commonly subjected. This form of breathing is not difficult to acquire, since it simply means that during inhalation the abdomen is expanded, and during exhalation it is contracted. It should be no longer necessary to warn the speaker to breathe exclusively through the nose when not actually using the voice. While speaking he must so completely control the breath that not a particle of it can escape without giving up its equivalent in sound.

"Clergyman's sore throat" is the result of improper use or overstraining of the voice. Sometimes the earnestness of the preacher causes him to "clutch" each word with the vocal muscles, instead of using the throat as an open channel through which the voice may flow with ease and freedom. Many speakers, in an endeavor to be heard at a great distance, employ too loud a tone, forgetting that the essential thing is a clear and distinct articulation. To speak continuously in high pitch, or through half-closed teeth, almost invariably causes distress of throat.

Most throat troubles may be set down to a lack of proper elocutionary training. To keep the voice and throat in order there should be regular daily practise, if only for ten minutes. The example might profitably be followed of certain actors who make a practise of humming occasionally during the day while engaged in other duties, as a means of keeping the voice musical and resonant.

When the throat becomes husky or weak it is a timely warning from nature that it needs rest and relaxation. To continue to engage in public speaking under these circ.u.mstances is often attended with great danger, resulting sometimes in total loss of voice. It is economy in the end to discontinue the use of the voice when there is a serious cold or the throat is otherwise affected. Nervousness, anxiety, or unusual mental exertion may cause a vocal breakdown. For this condition rest is recommended, together with gentle ma.s.saging of the throat with cold water mixed with a little vinegar or _eau de Cologne_.

A public speaker should not engage in protracted conversation immediately after a speech. The sudden transition from an auditorium to the outer air should remind the speaker to keep his mouth securely closed. The general physical condition of the speaker has much to do with the vigor and clearness of his voice. A daily plunge into cold water, or at least a sponging of the entire surface of the body, besides being a tonic luxury, greatly invigorates the throat and abdominal muscles. After the "tub" a vigorous rubbing with towel and hands should produce a glow.

To the frequent question whether smoking is injurious to the throat, it is safe to say that the weight of authority and experience favors abstinence. Any one who has spoken for half an hour or more in a smoke-clouded room, knows the distressing effect it has had upon the sensitive lining of the throat. It must be obvious, therefore, that the constant inhaling of smoke must even more directly irritate the mucous membrane.

The diet of the public speaker should be reasonably moderate, and the extremes of hot and cold avoided. The use of ice-water is to be discouraged. Many drugs and lozenges are positively injurious to the throat. For habitual dryness of throat a glycerine or honey tablet will usually obviate the trouble. Dr. Morell Mackenzie, the eminent English throat specialist, condemns the use of alcohol as pernicious, and affirms that "even in a comparatively mild form it keeps the delicate tissues in a state of congestion which makes them particularly liable to inflammation from cold or other causes."

It must not be a.s.sumed that the throat is to be pampered. A reasonable amount of exposure will harden it and to this extent is desirable. To m.u.f.fle the throat with a scarf, unless demanded by special conditions, may make it unduly sensitive and increase the danger of taking cold when the head is turned from side to side.

A leading physician confirms the opinion that the best gargle for daily use is that of warm water and salt. This should be used every night and morning to cleanse and invigorate the throat. Where there is a tendency to catarrh a solution made of peroxide of hydrogen, witch-hazel, and water, in equal parts, will prove efficacious. Nothing should be snuffed up the nose except under the direction of a physician, lest it cause deafness.

Many speakers and singers have a favorite nostrum for improving the voice. The long and amusing list includes hot milk, tea, coffee, champagne, raw eggs, lemonade, apples, raisins,--and sardines! A good rule is to eat sparingly if the meal is taken just before speaking. It need hardly be said that serious vocal defects, such as enlarged tonsils, elongated uvula, and abnormal growths in the throat and nose are subjects for the specialist.

Whenever possible a speaker should test beforehand the acoustic properties of the auditorium in which he is to speak for the first time.

A helpful plan is to have a friend seat himself at the back of the hall or church, and give his opinion of the quality and projecting power of the speaker's voice. It is difficult to judge one's own voice because it is conveyed to him not only from the outside but also through the Eustachian tube and modified by the vibratory parts of the throat and head. A speaker never hears his own voice as it is heard by another.

Nothing, perhaps, is so taxing to the throat as long-continued speaking in one quality of tone. There are two distinct registers which should be judiciously alternated by the speaker. These are the "chest" register, in which the vocal cords vibrate their whole length, and the quality of tone derives most of its character from the chest cavity; and the "head"

register, in which the vocal cords vibrate only in part, and the quality of tone is reenforced by the resonators of the face, mouth, and head.

The first of these registers is sometimes called the "orotund" voice from its quality of roundness, and is employed princ.i.p.ally in language of reverence, sublimity, and grandeur.

The head tone is the voice of ordinary conversation and should form the basis of the public-speaking style.

No one who has to speak in public should be discouraged because of limited vocal resources. Many of the foremost orators began with marked disadvantages in this respect, but made these shortcomings an incentive to higher effort. One well-known speaker makes up for lack of vocal power by extreme distinctness of enunciation, while another offsets an unpleasantly heavy quality of voice by skilful modulation.

A few easily remembered suggestions are:

1. Rest the voice for an hour or two before speaking in public.

2. Gargle the throat night and morning with salt and water.

3. Never force the voice.

4. Avoid all occasions that strain the voice, such as prolonged conversation, speaking against noise, or in cold and damp air.

5. Practise deep breathing until it becomes an unconscious habit.

6. Favor an outdoor life.

7. Hum or sing a little every day.

8. Discontinue public speaking when there is a severe cold or other affection of the throat.

9. Rest the voice and body immediately after speaking in public.

DON'TS FOR PUBLIC SPEAKERS