what additional implied thought might have been recognized, and why. If an inflection is wrong, let that appear by showing what it is in the sentence or context that demands "incompleteness," "completeness," or some composite form. If stress has been wrongly applied, show why "abruptness," or "insistence," or "enlargement" was needed. If qualities do not seem appropriate, show specifically why orotund is demanded, or guttural excluded. Do the same as to gesture.
Criticism may notice also:
Subjective Properties.-Be ready to point out the success or failure of the speaker in self-control and repose; in appreciation of subject and occasion; in animation and enthusiasm. Note his attitude toward the audience. Judge as to how well the speaker has preserved his individuality. Detect imitation, affectation, and all unnatural effects. Give some practical suggestions as to personal peculiarities or tendencies in voice, action, facial expression, position, pronunciation, or any unpleasant mannerism.
The criticism of the class-room is not more severe nor more unnatural, nor need it be more diverting than the silent criticism to which the speaker is unconsciously subjected whenever he appears before an audience. The friendly, judicious, thoughtful criticism, given in a scholarly way, even professionally, should be more grateful than the undiscerning and often irrelevant expressions of taste or whim which sometimes pass
under the name of criticism. In as far as technical criticism assists in the correction of bad habits and in the formation of good ones while the student is under drill, in so far it forestalls and disarms much of the less helpful and more disagreeable criticism to which, if he becomes a public speaker, he will surely expose himself.
The two fundamental things in criticism, as in the study of one's own delivery, may be: Purpose and Paraphrase. The purpose must be made the basis of criticism, as it is of interpretation; and the paraphrase may be employed by the critic in explaining his positions, just as it may be used by the speaker himself in reformulating the thought preparatory to utterIf the criticism is given viva voce, as in case of teacher and pupil, or of general class criticism, or conversation, the critic may ask the criticised to justify his rendering by paraphrase or restatement.
It is always to be remembered that the object of criticism is neither fault-finding nor flattery, but the expression of a judgment, unbiased and broad. It seeks to be useful to the one criticised, to the critic, and to listeners. The soul of true criticism is helpfulness.
Abdominal muscles, 346-350.
Action, suited to different moods,
19, 20; subjective properties of,
301; objective properties of, 302.
Additional matter implied by
tone, 6.
Affirmation with incompleteness,
129; inflection of, 129.
Analysis of thought through
tone, 2; governed by purpose,
Anticipation, 95; slide of, 96.
Antony's funeral oration analyzed,
22-24.
Arm movements, 314,
Articulating organs, 341-345; lips,
342; tongue, 343.
Artistic study of voice, 327.
Assertion, 116; inflection of, 118;
paraphrase for, 119.
Assumption, 116; inflection of,
116; paraphrase for, 119.
Breathing, slow and fast, 318.
Caution, in regard to study of
emotion, 220.
Chain of reasoning, 61.
Chart, vocal, 310, 311.
Chest, office in vocalization, 312-
328; expansion of, 315-317.
Chords, vocal, 337-341.
Chromatic intervals, 268.
Circumflexes, falling, 127; rising,
129; wave, 128.
Color, exponent of emotion, 17,
142.
College course, relations of ex-
pression to, 2.
Comparison or contrast, with af-
firmation, 127; inflection of,
127; with incompleteness, 128;
inflection, of 128.
Completeness of thought, 88; par-
aphrase for, 98.
Complex relations, 126-139; par-
aphrase for, 130.
Comprehensive thought, 61.
Conclusive thought, 62.
Condition, 95.
Continuative falling slide, 118.
Counting, 318.
CRITICISM, 354-360;
popular,
354; technical or scholarly, 355;
objective properties of, 358;
subjective properties of, 359;
purpose as related to, 360; par-
aphrase as related to, 360.
Degrees of pitch in inflection,
115.
DELIBERATION, defined, 54; ac-
tion suited to, 19; relation to
breathing, 321.
Delivery, objective properties of,
358.
Diagram, for finality, 90; for com-
plex relations, 130, 131; for
melody, 269.
Dialectic reading, 296.
Diatonic intervals, small, 268;
large, 268.
DISCRIMINATION, defined, 86;
action suited to, 20; relation to
breathing, 323.
Divisions, relation to moods, 297.
Doubt, 108; inflection, 109; par-
aphrase for, 109.
Ear, limited receiving capacity, 4.
Elocution, relation to thought, 2,
3, 4.
EMOTION, defined, 140; action
suited to, 20; relations of, 141;
means of expression, 142; par-
aphrase for, 144; gesture of,
303; relation to breathing, 324.
ENERGY, defined, 202; action
suited to, 20; paraphrase for,
203; of abruptness, 209; para-
phrase for, 212; of insistence,
213; paraphrase for, 217; of up-
lift, 219; paraphrase for, 224;
of establishment, 227; para-
phrase for, 229; of violence,
231; paraphrase for, 232; ges-
ture of, 303; relation to breath-
ing, 326.
Expansion, of chest, 315-317;
symmetrical, 317.
FEELING, normal, 147; paraphrase
for, 151; elevated, 160; para-
phrase for, 165; suppressed,
168; paraphrase for, 170; stern,
severe, or harsh, 174; para-
phrase for, 178; oppressed, or
covered, 188; paraphrase for,
191; agitated, 193; paraphrase
for, 194.
Figurative language, relation to
gesture, 299.
Finality, 88.
Force, exponent of energy, 18;
general, 290-292; as affecting
pauses, 292.
Formulation, 54.
"General force," defined, 20, 202,
290-292.
Generalized thought, 61.
General properties of utterance,
236.
GESTURE, as figurative language,
299-307; proofs of relation to
thought, 300; literal, 302; met-
aphorical, 303; of ideal pres-
ence, 303; of emotion, 303; of
energy, 303; of intensity, 303.
Groupings, 69.
Ideal presence, gesture of, 303.
Imaginative type, expression in,
294.
Impassioned type, expression in,
294.
Impersonation, 296.
Incompleteness, grammatical and
formal, 93-104; paraphrase for,
98; indirect and inferential
forms of, 105-115.
Individuality in expression, 356.
INFLECTION, definition and uses,
87; of momentary completeness,
90; of subordination, 93; of
anticipation, 96; of negation,
105; of supplication, 115; of
degrees of pitch, 115; of as-
sumption, 116; of assertion,
118; of comparison or contrast
with affirmation, 127; of com-
parison or contrast with incom-
pleteness, 128.
Intellectual element, 54-139.
Intellectual type, expression in,
293.
Intensity, gesture of, 303.
Interpretation, office in reading,
Interrogation, 110; inflection of,
110; paraphrase for, III.
Intervals, in melody, 268; small
diatonic, 268; large diatonic,
268; chromatic, 268; minor,
268; unusual, 268.
Introductory uses, 55-58; explan-
atory, 55; adaptive, 56; concil-
iatory, 57; incentive, 57; move-
ment, 58.
Inversion as a test of emphasis,
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PANTOMIMIC EXPRESSION, must
precede vocal, 142, 175; of nor-
mal feeling, 147; of elevated
feeling, 160; of suppressed feel-
ing, 169; of harsh feeling, 176;
of oppressed, or covered, feeling,
190; of agitated feeling, 194; of
abrupt energy, 212; of insistent
energy, 216; of energy of up-
lift, 224; of energy of establish-
ment, 228; of energy of vio-
lence, 231; by paraphrase, 303.
Paragraphs, relation to memory
and expression, 298.
PARAPHRASE, expressional, 29;
objective, 32; subjective, 34;
expansive, 36; condensative 43;
elliptical, 47; prosaic, 47; to re-
veal completeness or incom-
pleteness, 98; to reveal nega-
tion, 106; for supplication, 113;
for assertion and assumption,
119; for complex relations, 130;
for normal feeling, 151; for ele-
vated feeling, 165; for sup-
pressed feeling, 170; for stern
feeling, 178; for oppressed, or
covered, feeling, 191; for agitated
feeling, 194; for energy of ab-
ruptness, 212; for energy of in-
sistence, 217; for energy of up-
lift, 224; for energy of estab-
lishment, 229; for energy of
violence, 232; pantomimic, 303;
as related to criticism, 360.
PAUSES, 69; grammatical, 72;
elliptical, 81; prosodial, 83;
euphonic or rhythmic, 84; as af-
fected by force, 292.
Perceptive faculties concerned in
deliberation, 19.
Percussion of chest, 318.
Periodic structure, 77, 96.
Phrasing, 69.
Physiology, relations to expres-
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