To become a good reader, patient and long-continued practice is necessary. We learn to read by much reading and never by the study of formal rules. Nevertheless, a knowledge of the following general principles and definitions may be of some value in assisting the learner to acquire correct habits in the practice of oral reading.
PRONUNCİATİON.
Under this term are included Articulation, Syllabication, and Accent.
Correct articulation requires that each letter, syllable, and word should be clearly and properly pronounced. Incorrect articulation is the result either of careless habits or of natural defects. In either case, it may be largely overcome by persistent and careful drill in the pronunciation of those words in which the greatest difficulty is experienced. Conversation, declamation, calisthenics, singing, and similar exercises should be engaged in, in order to assist in overcoming habits of timidity or diffidence, and to give increased power and flexibility to the vocal organs.
Syllabication and accent are learned by careful observation and by reference, in all cases of doubt, to some standard dictionary.
EXPRESSİON.
Correct expression in reading has reference to tone of voice, inflection, pitch, emphasis, all of which are included under modulation.
TONE.
Tone, or quality of voice, is the kind of sound employed in reading or speaking. A conversational tone is such as is used in ordinary conversation for the expression of quiet or unemotional thoughts. A full tone of voice is used in the expression of high or lofty sentiments, and of feelings of joy, courage, or exultation. A middle tone is used in the rendering of expressions which while not conversational in character are too unimpassioned to require a full tone. A low or subdued tone is used in passages where the sense requires a suppression of sound. The only rule necessary is this: Study so to regulate the tone of voice that it shall always be in harmony with the thoughts expressed.
INFLECTION.
Inflection is the upward or downward movement of the voice in speaking or reading. There are two inflections: the rising inflection, in which the voice slides upward; and the falling inflection, in which the voice slides downward. Sometimes there is a union of the two inflections upon a single sound or syllable, in order to express surprise, scorn, irony, sorrow, or other strong or peculiar emotion. This union of inflections is called circumflex. No rule for inflections can be given which is not subject to numerous exceptions. The movement of the voice, whether upward or downward, is in all cases determined by the thought in the sentence. That inflection should be used which will assist to convey, in the most natural and forcible manner, the meaning intended by the author.
PITCH.
Very closely related to tone and inflection is pitch, by which is meant the degree of elevation of the voice. Pitch may be middle, high, or low. Middle pitch is that which is used in common conversation and in the expression of unemotional thoughts. Light and joyous emotions and lively narration require a high pitch. Passages expressing sadness, deep joy, dignified serenity of mind, and kindred emotions, require a low pitch. Hence, the only rule to be observed is this: Let the pitch be always in harmony with the sentiments to be expressed.
EMPHASIS.
Emphasis is any change of pitch, or variation of the voice, which serves to call special attention to an important word, syllable, or expression. The only rule that can be given for securing correctness of emphasis is: Be natural. Children, in ordinary conversation, never make mistakes in emphasis. If they are made to understand what they are reading, have not been permitted to imitate incorrect models, and are not hampered by unnecessary rules, they will read as well as they talk. Let reading be but conversation from the book, and not only emphasis, but pitch and inflection will require but little separate attention, and no special rules.
PAUSES.
Pauses in reading are necessary to make the meaning clear or to assist in the proper modulation of the voice and therefore in the correct rendering of the sentiments of the author. The former are called grammatical pauses, and are indicated by the marks of punctuation; the latter are called rhetorical pauses, and depend for their correct usage upon the reader’s understanding of the thoughts which he is endeavoring to render. In reading poetry, a slight pause is generally proper at the end of each line, and sometimes also at the middle of each line. The latter is called the cæsural pause. The object of poetic pauses is simply to promote the melody.
