The first thing I wondered when reading this chapter was: what is elocution? So, I found a definition that basically said it was the “art of speaking clearly” with the correct enunciation. This is important to understand because it is the foundation for what Hallie Quinn Brown argues.
It was important to read the section following the introduction, which focused on the life of Brown and her background. She was born in Pittsburgh, Pa (holla!) to a family who was “deeply committed to black activist causes” (55). For one thing, her parents’ house was one of the stations for the Underground Railroad; therefore, from the time she was little, Brown witnessed many blacks escape slavery. This is probably where her passion for black activism began.
The rest of this section gives Brown’s credentials—and there are a lot of them. She has been published, spoke on behalf of black rights, and even established scholarships for black women to go to college. She ranges in areas of literature, politics, and academia as well as first-hand experience with those affected by the disembodiment of black rhetoric. So, she’s legit.
The next section, “Overview of the Elocutionary Movement,” discusses the central tenets surrounding elocution. We get the meat and potatoes of this movement.
1. The relationship among voice, body, mind, and soul. Body language is a huge part of this first tenet. Basically, if you are a speaker, you are not only judged on your public speaking skills, but your body language as well. A good example of this judgment is on page 59 at the very top. The block quote basically says a lot about the eyes, gestures, hands and arms, and then discusses the person’s reporting style. It definitely made me feel as though I should be more conscious of my actions next time I am speaking, not just my voice and speaking skills.
2. The relationship between thought and delivery. Here the idea of what is “natural” when speaking is explored. (Note the quotation marks, she used them every time she mentioned the word “natural,” mainly because this idea is subjective.) This is where elocution and African American culture comes into play. The idea of what is “natural,” they say, must be practiced and Kates questions, if it is “natural,” why must it be practiced? So, for example, if it is “natural” for someone to speak a certain way (i.e. with a southern accent, or a black accent), why must they practice elocution (the correct and clear way of speaking in the English vernacular)? Along with this, the question is also posed: how are audiences affected by different speakers (i.e. women, blacks, Hispanics, etc.)?
This is where the section turns over to explore Brown’s ideals. In this chapter, Kates describes Brown’s aim to include the African American vernacular English, African American history, and social responsibility in work dedicated to elocution.
Specifically, Kates discusses how Brown challenges the cannon. The cannon are Brown’s white counterparts, who are notorious for excluding the black English vernacular in their work. Brown, obviously, doesn’t do this; rather, she includes the black vernacular in her works: the reciter texts. Reciter texts included stories, poems, and speeches for practicing proper elocution. They were often used in a family environment because they provided entertainment pieces. An example of black vernacular can be found on page 64 at the top of the page (the block quote).
Kates questions what is right and how greatness is determined and by whom it is determined. This is a good thing to be questioning when we are told we are wrong. Brown was told she was wrong to stand up for black vernacular, but she did it anyway. Why did she do it? Because many blacks at that time didn’t have the education and literacy skills in order to speak with elocution—but they could speak. So why weren’t they allowed to speak the way they could? And who determined that their way of speaking was wrong? Whites did, and they ignored the black history behind everything. “While numerous reciter texts by mainstream elocutionists often include speeches that take up the abolitionist cause, such speeches are invariably in the voice of whites who speak for blacks and do not contain examples of blacks speaking for themselves” (67). This quote explains everything previously mentioned in this paragraph. Whites were projecting their voice over blacks so that blacks could not be heard. So Brown allows African Americans to have a voice in her texts. Otherwise, when we are reading “black” texts or pieces within texts, we’re really just reading what whites have to say about blacks, and that is not an accurate opinion. If we’re not hearing it from the horse’s mouth, we’re not really hearing it. And, as chapter three points out, we are still apprehensive to include black vernacular and history into our texts. Some are inclusive, but some aren’t. It’s still a process to be worked on.
I have to end here because I have other stuff I need to get to tonight, but let me close with a quote from Brown in her “First Lessons in Public Speaking” manuscript (70):
The intellect is highly trained in our schools and institutions of learning, but little or no regard is paid to the systematic training of the higher powers…intellect is not the highest gift to man. The business of intellect is simply to know. Above and back of that stands character—the soul that directs and impels both mind and body. Elocution teaches the student that he is to cultivate these higher powers; that he is to quicken his sense of obligation to himself, to his fellow man…(165)
I loved this quote. It is so eloquent of her to say this—because it makes such perfect sense! Life isn’t always about how much you know or how smart you are. It’s how you use those smarts to help the common good and “fellow man.” Character, as she points out, is what holds up the intellect of man. What you know is reflected in your character, so your character really says a lot about what you know.
Fin.