Rensselaer Republican, Volume 16, Number 6, Rensselaer, Jasper County, 18 October 1883 — How to Read. [ARTICLE]

How to Read.

Why is it that not one person in ten can read aloud, easily, and with pleasure to others ? We know that one gets hoarse, another mumbles, or stammers, a third takes all the interest out of whatever is Selected, and how comparatively few are really good readers. In lipge classes of young Indies, six out of sixty may be able to read So as to be distinctly understood, but that is a large estimate. Often a quotation cannot be heard by the meinbers of the I same class. And yet these girls are so noisy at table or in their rooms that they are continually requested to try to moderate their voices. Children recite with clear, sweet tones and distinct Utterance. Why is it so uncommon in mature persons ? By remembering a few simple rules, ' every one can read well. For instance: First find out the spirit of the piece, I and suit time and tone to that spirit, j Do not read a dirge with high, quick i notes, or drag in monotone over a comic dialogue. I Next, find the important ideas to be brought out, and accent the important j words, so that one could get the story I if only these words were given? Make these words, and try the effect on a friend.

Then drift on the clauses that have no special importance; that is, let them run along easily, without emphasis. The conjunctions and prepositions are but links to bind the clauses together, and seldom require a special stress. Breathe deep and full; let out the breath slowly; learn to control it by inhaling, then holding it. No one can read well till he breathes properly. Rules for breathing are to be found in every work on elocution. Practice daily. "Open your mouth, for the back of your throat must be open, or you will have a nasal twang. Dwell on the vowels; be distinct on the final consonants, that is the secret of distinctness. Be natural; read as if talking; to do this, learn to look off the book and address somebody or something, if only the old clock in the corner. Feel what you read; see what you describe; this is the secret of impressing others. Let your face express the emotions you would portray. Punctuate for yourself, that is, understand the wonderful effect of oratorical pauses. Stop a second or two after mentioning a new name, as you do when introducing a stranger. I remember Charlotte Cushman’s reading of “In there came Alice, the nurse.” She paused after Alice, —then the last words were an explanation. Everyone saw old Alice, and felt her presence. . .' To make your voice flexible, recite the vowels with rising and falling inflections. Let me offer now a practical drill. “John -Gilpin was a citizen — Of credit and renown; A train-band captain eke was he. Of famous London town.” Spirit of the piece ? Cheerful narrative. Prominent Ideas ? John Gilpin~a pause, to let your audience tinderstand who you are speaking of—was a citizen of credit and renown. What else? A train-band captain—(eke was he) —that clause, as if in parenthesis. Of what? Of famous London town. By asking these questions, the tone in answering is natural.— Youths Companion. 1