The more particular object of this article is to describe some of the
various styles of Parliamentary speakers, and to give a pictorial
presentment of short passages from the speeches of members who
participate frequently in the debates, showing the approximate pitch
and modulation of the voices. For the latter purpose nearly two hundred
different speeches were "sampled."
Anyone familiar with the theories and principles of speech sounds knows
that it is an impossibility to render accurately the multitude of
sounds occurring in even a short typical passage. Different plans for
writing speech sounds have been tried with varying success. Any system
aiming at scientific accuracy implies a degree of minute analysis which
is impracticable in an endeavour to procure an estimate of the pitch
and average inflection of numerous voices heard at some distance, and
under conditions not favourable to close scrutiny. In speech a single
syllable may traverse half an octave, a semitone, or a fraction of a
semitone, and it may be jerked out in separate tones, or undulate in
portamento. There is usually, however, a prime sound, which may be more
prominent and longer sustained than the other sounds that go to round
off the syllable. With a succession of those prime sounds, which, for
convenience, may be called notes, it is possible to give a rough notion
(which is all that is claimed here) of how a speaker's voice rises and
falls in the hearing of an ordinary listener.
Each of the samples represents an average bit of speaking. The notes
given must not be taken literally. If the speaking tone, for instance,
was somewhere about D, and descended to somewhere about A, those notes
D and A would be near enough for the purpose of these observations.
True musical intervals are out of the question, but the accompanying
diagrams have been written on the bass clef in the natural key, this
being the most simple and direct way of showing roughly the variation
as between different speakers, and the prevailing pitch, as nearly as
it has been possible to discover them.
The natural speaking notes of a man's voice vary considerably in
different places and in different circumstances. A certain accomplished
cathedral singer who has studied this question puts the average pitch
of preachers' voices at about F sharp in the bass clef. He has heard
preachers ascend to top tenor G and A, descending to C (above the bass
clef), improbable though it sounds. Others he has observed speaking
effectively from B to F (bass clef), with F as the top tone. He
himself, with an exceptionally deep voice, has in speaking an average
pitch of low G, with inflections upwards to F and downwards to C below
the clef. One acknowledged authority gives the ordinary range of the
speaking voice of a man as the notes comprised in the bass clef,
_i.e._, G to A, B flat to F sharp above the clef being occasionally
used. Another authority points out that a good tone is desired for
singing within two octaves, whereas, in speaking, an audible tone is
desired at pitches generally within one-fifth, and only occasionally
extending to an octave. Still another authority says that the part
of a bass voice most often brought into requisition will consist of
the notes D, E, F, G, and in the case of a tenor voice of G, A, B, C,
the dominant note for the bass being E or F, and for the tenor A or
B. At the same time it is admitted by one of those authorities that
great actors have used with best effect their lowest notes, _i.e._,
extending upward from C below the bass clef. Of course, the declamation
of the actor as well as that of the clergyman is more favourable to a
sustained and singing quality of tone than ordinary speech. The same is
true to a certain extent in the case of Parliamentary speaking.
In the House of Commons there is a good deal of uniformity in
the pitch, which is lower than might be expected. The pitch of
three-quarters of the speaking tones heard in the House is within
one-third, viz., C to E, and the note most frequently used is D.
Descents to A and G, and even lower, are frequent, but seldom do
voices rise above the top A of the clef. The acoustic properties of
the chamber and perhaps the element of imitation, which, after all, is
the genesis of speech itself, may account partly for the prevailing
similarity in pitch.
A voice often appears to be jumping a scale when in reality it is
sticking to one or two dominant notes. Pronounced accentuation gives
the appearance of inflection, and by some people the former is regarded
as the more important consideration. The singing voice in a monotone
song or a recitative exemplifies the value of emphasis as distinct from
modulation.
[Music: T. P. O'Connor]
[Music: W. O'Brien]
[Music: J. M. Healy]
A notable instance of the power of accentuation in speaking is the
elocution of Mr. T. P. O'Connor, whose brilliancy no one may deny. He
often sinks his voice to an almost inaudible whisper, attaining thereby
impressiveness, and heightening the effect in the following passage,
which receives the strength of loud tones. Mr. W. O'Brien and Mr. T. M.
Healy use a similar device, and so do other members. It is telling, but
apt to be overdone, words at the end of a sentence being continually
lost to some of the audience. Mr. O'Connor's voice is seldom above or
below C and D. Mr. O'Brien modulates somewhat more. Both members have
good articulation and resonant tones. Mr. Healy has a lower and fuller
voice than either of the other two. He has a very decided habit of
throwing a point at his opponents with a big, contemptuous shout. The
voice often swings into a musical curve when he utters something pithy
and amusing, carrying with it the suggestion of a great laugh.
[Music: R. B. Haldane]
[Music: Sir John Gorst]
[Music: Ivor Guest]
Among members whose voices appear to be pitched very high, but are in
reality not so, may be mentioned Mr. R. B. Haldane, Sir John Gorst,
Mr. Ivor Guest, Mr. Sydney Buxton, Mr. Robson, Mr. Scott Montagu,
and several others. In each case the quality is light. Mr. Haldane's
voice has no great body in it and does not carry too well. Possibly
long practice at the courts induces his rapid utterance. One who
appreciates Mr. Haldane's high intellectual level cannot help wishing
that Nature had endowed him with the tones of some other public men,
whose intensity is rather vocal than intellectual. Sir John Gorst has
one of the pleasantest voices in the House and perfect articulation,
his chief note being about F, with falls to C. Mr. Guest repeatedly
descends to G. Mr. Sydney Buxton speaks often and briefly, but into a
short space of time he can cram a wonderful lot of words, being one
of the most rapid speakers in the House. The dominant note is about C
sharp, and the modulation seldom varies in character, the speech being
broken up into short phrases, with a downward inflection at the end
of each. This is a style of speaking characteristic of a great many
members. Mr. Robson, one of the most formidable among the younger men
of the Opposition, adds to a clever debating power a distinct utterance
and an earnest, careful style.
[Music: S. Buxton]
[Music: W. S. Robson]
There are few really deep voices in the House. Mr. C. Fenwick may lay
claim to the lowest pitch. His strong, vigorous, ringing style is a
good index to the character which has raised its owner from work in
the collieries to a seat in Parliament. Added to his excellent voice,
which fills the House, he has a natural and forcible manner of gesture.
The dominant note is somewhere between lower A and B flat. Sir Edgar
Vincent also possesses a pronounced bass organ, which is musical,
resonant, and full of tone, and which would be even more effective
with added "light and shade." Lower G and A occur frequently in his
speech. Sir F. Powell, Sir John Brunner, and Sir Samuel Hoare are other
deep-voiced members. The late Sir William Allan's speaking suggested
that he was trolling out notes impossible to the rest of mankind;
but, though he had a big, rugged, splendid voice, in keeping with his
handsome stature and leonine head, we find he said the many candid
things that helped to stiffen the back of the Admiralty on an average
note about D. One good quality of his speaking was the prolonged
singing tone which he gave to some syllables. The Welsh members,
however, display this peculiarity more than others.
[Music: C. Fenwick]
[Music: Sir E. Vincent]
[Music: Sir Wᵐ. Allan]
There are a considerable number of members who vary but little from
monotone. That is to say, their speech strikes the ear of the ordinary
listener as running along pretty nearly on one tone. As has already
been pointed out, there are always considerable variations on single
syllables and even on consonants, which are more or less perceptible,
and which have their own due effect in rendering a voice agreeable. The
existence of a perfect monotone through a passage of spoken sounds,
vowels and consonants, in singing or speaking is well-nigh impossible.
At all events, the beginning and the end of a spoken sound, unless that
sound be a simple vowel, have each a certain twist which may often
be detected. In many voices it is very noticeable. But the volume of
tone that reaches the ear in a sound that is meant to be sustained
overwhelms the little twist at the beginning or the end, and is for
all practical purposes one note. In singing that is always true. In
speaking it is true up to a certain point. Some speaking voices appear
to be almost entirely confined to one tone, because to the auditor it
is only one dominant note throughout that is appreciable. Many members,
designedly and undesignedly, depart but little from this apparent
monotone, which is to some extent associated with the dignified and
solemn manner, but may be due in some cases to inability to render the
delivery responsive to the mood. If there is little inflection and
no accentuation the result is bad. But it does not follow that good
delivery requires a continual coursing up and down the gamut.
It has been stated, by one in a position to judge, that Mr. Bright
seldom dropped or raised his voice more than a semitone, and everybody
has experienced, or heard of, the charm of Bright's delivery. No
disrespect is implied, therefore, when the following gentlemen are
mentioned as being among those numerous members who depart very little
from the one dominant pitch: Mr. Cathcart Wason, Sir W. Holland, Mr.
Channing, Mr. Claude Hay, Sir Samuel Hoare, Mr. Arnold-Forster, Sir
William Harcourt, Mr. John Burns, Sir Fortescue Flannery, and Mr. Bryce.
[Music: J. Cathcart Wason]
Mr. Wason adheres pretty closely to the neighbourhood of C sharp,
and combines with a swift utterance an earnest demeanour and a total
absence of hesitation. Sir W. Holland, the possessor of a deep, rich
vocal organ, seldom goes away from B or C. Mr. Channing gets a good
deal said on C sharp, with a slight downward inflection at the end of a
sentence. Mr. Claude Hay also adheres pretty generally to C sharp. Sir
Samuel Hoare is heard through the medium of full, sonorous tones, his
manner being eminently that of a man of ripe experience and practical
methods.
[Music: H. O. Arnold-Forster]
Mr. Arnold-Forster, the new Secretary of State for War, one of the most
serious speakers in the House, has a rather thin voice and a rapid
utterance, but he articulates well and reaches his audience in a clear,
direct manner.
[Music: Sir Wᵐ. Harcourt]
Sir William Harcourt is one of few left belonging to the old school.
There is the traditional Parliamentary style--a studied form of
oratory--deliberate, lofty, and impressive; the manner that is followed
at a considerable distance by some of the younger men. We find in Sir
William Harcourt's speech a series of words almost on the one note,
uttered in a restrained tone and finishing at each phrase with a
characteristic turn of the voice--perhaps, also, a suppressed laugh or
a "humph," the meaning of which can never be mistaken. The voice is not
so strong as it used to be, but the fine old type of English oratory
is still there. The diagrams relating to Mr. Arnold-Forster and Sir
William Harcourt, though probably not quite correct in the matter of
pitch, give an idea of the modulation.
[Music: John Burns.]
[Music: Rᵗ. Hon. Jos. Bryce]
Mr. John Burns speaks well within a third, and delivers most of his
breezy remarks somewhere about C and D with a musical organ of resonant
and robust quality. Sir Fortescue Flannery has a quiet but distinct,
full-toned, pleasant voice, which modulates little apart from a
pronounced drop at the end of each phrase or sentence. Mr. Bryce's
conspicuous quality as a speaker, _qua_ speaker, lies in the successful
way in which he plans his discourse. Exordium, proposition, division,
narration, confirmation, refutation, peroration--he seems to be
conscious of all these rhetorical parts in his most casual intervention
in debate. His delivery is detached. The frequent pause, cutting off
sharply each phrase, is reminiscent of the professor's rostrum. No
doubt this device helps the understanding, though it runs the risk of
being inelegant. Mr. Bryce talks on D, with constant falls to A. His
voice has a good ring and an accent belonging to the North.
[Music: Sir M. Hicks Beach]
[Music: Rᵗ. Hon. J. Morley]
Members who have marked inflection, yet do not bridge over a large
interval, include Sir Michael Hicks Beach, Mr. John Morley, Sir Edward
Grey, Mr. Austen Chamberlain, Mr. John Redmond, Mr. T. W. Russell, Sir
William Anson, Mr. Keir Hardie, Lord Hugh Cecil, Sir James Fergusson,
Mr. Richard Bell, and a host of others. Sir M. Hicks Beach has a calm,
deliberate, dignified manner; his voice is clear and distinct, and it
flows in easy cadences without effort. Few can compel more easily the
attention of their audience. Mr. Morley's delivery is of a different
type, and is even more telling on the platform than in the House.
When occasionally induced to depart from a restrained attitude--which
suits him best and which proves him the possessor of an exceedingly
mild, pleasant, and sympathetic voice--his production inclines to
"throatiness" and the carrying quality is diminished. Only to this
extent is his delivery unequal, but his tones are usually slow and
musical. His average notes run about D and E.
[Music: Sir E. Grey]
[Music: Rᵗ. Hon. A. Chamberlain]
Sir Edward Grey, the most prominent young man on the Liberal side, has
a style of his own. His quiet voice is even more youthful than himself,
and is used without forcing or visible effort. One never hears him
"tear a passion to tatters." He reserves most of his speeches for big
debates, and these are usually masterpieces of form, well thought out,
and arranged in simple, telling language. Many points of resemblance
have been discovered between Mr. Austen Chamberlain and his father. The
resemblance in mannerism is, perhaps, more pronounced than similarity
in voice. There is a distant echo of the elder statesman when the
younger speaks, but Mr. A. Chamberlain's tones are not so clear as
those of his "right honourable friend." His natural production is not
so good; the voice is deeper and the articulation is less distinct.
The relationship compels comparison, but that does not prevent the
recognition of Mr. Austen Chamberlain as a telling speaker and a
powerful debater. His dominant note is seldom much away from somewhere
between C and D.
[Music: J. Redmond]
[Music: J. W. Russell]
Mr. John Redmond, the leader of the Irish Nationalist party, has none
of those vocal extravagances which frequently characterize some of his
followers. He has usually a well-set-out argument to lay before the
House, and his full voice and plain utterance hold the attention. Mr.
T. W. Russell is so earnest on any theme he attacks that his prevailing
mood may be said to be vehemence. This forcible manner accounts for
a large measure of his success on the platform, for even an English
audience likes to be roused now and again. He separates his syllables
after the Scotch fashion, and has thus a very distinct pronunciation,
gesticulates a good deal, and rejoices in a clear, ringing voice of an
average pitch.
[Music: Sir Wᵐ. Anson]
[Music: J. Keir Hardie]
Sir William Anson is academical in his style, with a rather quiet
manner, indulging in little variation of any sort, and delighting in a
precise, neatly-rounded sentence. Mr. Keir Hardie is chiefly concerned
in saying what he has got to say in an earnest, determined sort of
manner. He has a good voice, which he never forces. One peculiarity,
which characterizes other speakers also, is the habit of running on
with half-a-dozen words, then dropping the voice both in pitch and
intensity, pausing, and again proceeding in the same manner. Due regard
may not be had either to the conclusion of a sentence or the moods that
have their recognised rise or fall. A habit such as this may serve a
purpose in arresting the attention, but it is apt to become tiresome.
Mr. Hardie speaks usually on D, constantly dropping his pitch a tone or
more.
[Music: Lord H. Cecil]
Lord Hugh Cecil has the voice of the family--clear and ringing. He
indulges in occasional upward progressions, on what notes it is
impossible to say. Like many more brilliant men he has a number of
habits all his own, chief of which is a wringing of the hands while
speaking. He commonly adheres to D and E. The Cecils and the Balfours
have all voices more or less resembling each other. None is heavy. The
quality is resonant and ringing, the articulation in each case being
very distinct. The late Marquis of Salisbury had a much mellower voice
than his son Lord Hugh, though in later years it weakened very much.
[Music: Wᵐ. Jones]
Some of the Welsh voices in the House come nearest the singing or
sustained manner. We have a notable instance in the speaking of
Mr. W. Jones. Mr. Lloyd-George and Mr. W. Abraham (Rhondda Valley)
display a like characteristic. Mr. Jones speaks less frequently than
the House would desire. His Celtic spirit and cultivated intellect
find expression in a voice which can go direct to the hearts of his
audience. Hear him speak for the Penrhyn miners or champion Welsh
nationality and institutions, and you hear the true orator, the man
who, with his own soul moved, can move and persuade others. His voice
seems to sing in a soft musical cadence, the manner being at the same
time earnest, impassioned, and intense. Every syllable reaches his
hearers. He roams over many notes, constantly covering an octave,
and giving true inflection to every mood, to the accompaniment of
natural and eloquent gestures. The above diagram gives a notion of the
modulation, his true pitch being perhaps a little higher.
[Music: D. Lloyd-George]
Mr. Lloyd-George, one of the most skilful debaters and word-fencers
in the House--a man destined to have a high place in the State, who
has the word of the Prime Minister that he has risen high among
Parliamentarians--possesses a flexible voice of light, clear, and
pleasant quality. He articulates perfectly, and never minces his words
one way or another. The voice is admirably adapted to the _rôle_ he
plays, for he has no need of one to suit a heavy style. When in a
practical mood he gets along on D and E, but at other times he bridges
a considerable interval. Mr. Abraham might well be expected to sing a
number of notes, seeing that he takes a part in the Eisteddfod. Like
his leader, he indulges in a good deal of gesture.
[Music: Rᵗ. Hon. A. J. Balfour]
A number of individual styles remain to be mentioned. When the Prime
Minister speaks we are conscious of listening to a great personality.
His voice fills the chamber, and yet it is not a big, robust organ.
It has that undefinable something in its timbre which one listens
for in a first-class baritone's singing. It has the carrying quality
in a great degree, and needs but little exertion because of the
perfect articulation to which it gives sound. Mr. Balfour seldom
speaks rapidly, and when he pauses abruptly his hearers may expect to
receive a smart epigram, an ingeniously-turned phrase, or a surprising
application of an interruption. He is one of the keenest fencers in the
House, delighting to make even a small point against his opponents,
though it be at the expense of a great deal of elaboration. He is a
skilful reasoner--a dialectician of the highest order. These qualities
naturally infer variety in speech, and Mr. Balfour's elocution, in the
modern sense of the word, responds to the various moods efficiently,
and yet without much overstraining. The note on which he does most
speaking is somewhere between D and E, but he frequently ranges the
octave from G to G.
[Music: Rᵗ. Hon. G. Wyndham]
Mr. George Wyndham, whose name has been cursed and blessed by Irish
Nationalists, has great gifts of eloquence and a powerful, clear voice,
which he uses with great effect. His delivery seems to improve each
Session. The progress of the Irish Land Bill through the House last
Session showed him to be master of the most intricate details of his
subject, and his lucid expositions gained the admiration of all who
heard him. D is the note on which he most frequently speaks, and the
diagram illustrates a passage from his speech on the second reading of
the Land Bill.
[Music: Sir H. Campbell-Bannerman]
Sir Henry Campbell-Bannerman makes himself heard to some effect by
means of clear utterance rather than strong tones. Notwithstanding an
occasional huskiness he is a pleasant speaker, and the English he uses
in debate is above reproach. He is usually heard on E.
[Music: Rᵗt. Hon. Joseph Chamberlain]
Mr. Chamberlain's triumph is his debating power. The substance of his
speeches almost overshadows the manner of delivery. In the case of the
Prime Minister the manner, in addition to the substance, engrosses
a large share of attention. Mr. Chamberlain is direct, trenchant,
unsparing, when the occasion offers. He will not trouble over peddling
points for their own sake. He must have a big issue or nothing, and
heavy, slashing blows please him best. He is a sure-footed fighter. The
manner in which he sometimes springs to the table with a bound proves
it, apart from his reputation. To all appearance nervousness is not
in his nature. His normal voice is soft, almost inclined to approach
a thick quality, yet so admirably does he enunciate, so pleasing a
variety is given to its tones, and so perfect a restraint is exercised,
that never a syllable is lost in any part of the House. Every mood
finds due expression. From vehemence he can return to pleasantry by an
easy step.
[Music: Rᵗ. Hon. H. H. Asquith]
[Music: Rᵗ. Hon. C. T. Ritchie]
[Music: Rᵗ. Hon. Sir John Brodrick]
Mr. Asquith modulates his voice a good deal, but largely uses the power
of emphasis at the risk of being unheard at the end of occasional
sentences. Resonance, vigour, and brevity characterize his speaking.
Mr. Gibson Bowles expresses himself rapidly, readily, and wittily,
in a good tone, about D and E. His _rôle_ of candid friend to the
Government lends something to the piquancy of his remarks. Mr. Ritchie,
in introducing his first, and perhaps last, Budget, used the modulation
represented in the diagram at one part of his speech. He has a hurried,
broken-up style of delivery, though the possessor of a good voice. Mr.
Brodick's manner is anxious, and distinctness suffers, more especially
when the mood is that of indignation. As Secretary for War he rose
well to the occasion in the severe ordeals he had to pass through last
Session. Mr. Chaplin has a serviceable vocal organ, with which he
combines an effective manner. His speeches are perspicuous to a degree.
There is a big bit of the old-fashioned, dignified Parliamentarian
about him, and he is invariably welcomed in debate. Mr. Dillon's voice
is like a clenched fist, ready for the striking blow. His manner is
often vehement and always forcible. Few are superior in the expression
of passionate bitterness. He is fond of dwelling on differently-pitched
strings of notes--viz., C sharp, E, or F.
[Music: The Speaker]
The last voice to be mentioned here is that of the Speaker (the Right
Hon. W. Court Gully). Its tones are, like the manner of the right hon.
gentleman, dignified and gracious. Musical and distinct, it is heard
with equal force in storm and calm, and when it speaks it carries a
persuasion more certain and effective than does the voice of the Prime
Minister himself.
[Illustration]
[Illustration: Mᴿ DONAH]