The Confessions of a Caricaturist, Vol. 2 by Harry Furniss (novels for teenagers .TXT) 📖

QUEEN'S HALL, LONDON. I WAS THE FIRST
TO SPEAK FROM THE PLATFORM.

HAT hateful word "lecture"! Oh, how I detest it! In the juvenile brain it conjures up mental punishment in the shape of a scolding, for to be "lectured" is to be verbally flogged, and the wrathful words that smite the youthful ear carry with them just as sharp[Pg 155] a sting as the knots of the lash that fall on the hapless back of the prison culprit.

To the boyish mind the lecturer is pictured as an old fossil to whom he has to listen attentively for an hour without understanding a word of his learned discourse. The funereal blackboard, the austere diagrams, the severe pointer and the chilly glass of water, a professor something like one of the prehistoric creatures he is talking about, with his long hair and long words, his egotistical learning, his platitudes and pauses and mumblings, combine to depress the youngster, who all the time is longing for the fresh air and an hour of cricket or football. Then the notes he is supposed to take! True, there is a certain momentary feeling of pleasure and importance on acquiring the first clean, new notebook and long, well-sharpened pencil, but it is of very, very brief duration. The boy won't be happy till he gets it, but he's anything but happy when he's got it! He sees (of course I refer here to public lectures) some "prehistoric gurls," as an Irish boy once termed them to me, taking copious notes, but the long words and learned phrases stagger the budding scientist and befog his as yet undeveloped brain. I am speaking from my experience when I attended the first of a series of lectures by leading professors of the Dryasdust species.

Nor does the subsequent cross-examination by the parents enhance in the youthful idea the pleasure of being lectured to.

In boyhood's days the student has to attend his lectures, and when they are over he rejoices accordingly; but what about the lectures in after life? Although I have given many of these latter myself, I cannot say that my experience as one of the audience has been very extensive, as I have only heard one or two. The first I heard was delivered by Professor Herkomer some years ago. The subject interested me, as I thought I knew more about it than the lecturer himself, and Herkomer's delivery was particularly good, but it was a "lecture" in the strict sense of the word. We were scolded, and went away like whipped boys. When I stood on that identical platform a few years afterwards I scolded everybody—it is the duty of the lecturer to do so.[Pg 156]

A lecturer must be a personage altogether superior—this is essential. If he does not possess this attribute, he must assume it. Modesty is ineffective; mock-modesty is distasteful; you must instruct your audience. The commonest platitudes will serve if you call it a "lecture," and address them to an audience as if they were a lot of school children.

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When a lecture-entertainment has been written, the question then is how to deliver it. Now, with the exception of returning[Pg 157] thanks for "art" or "literature" or for "the visitors" now and then at a City banquet, I was quite unaccustomed to public speaking. A friend of mine suggested I should take lessons in elocution from "one of those actor fellows." "It is not what you say but how you say it," he said to me. "Indeed!" I replied, rather nettled. "Matthew Arnold had a wretched delivery, and I think there was something in what he said." "True, but you[Pg 158] are not a Matthew Arnold, nor I should say a George Dawson either. So take lessons in elocution, my boy, and save yourself and your audience." Therefore, modestly I went to consult a professor of elocution with my lecture in my pocket, feeling very much as I did when I first walked to school, or to my first editor with my youthful artistic attempts. I had, by the way, attended an elocution class and a drawing class in my school days, but no boy was expected to learn anything from either.

MISS MARY ANDERSON.

It is curious to notice how parents willingly subscribe to the school extra, "Elocution class," in the belief that it gives boys confidence. I was a nervous boy, so I joined. The drawing extra certainly gives a boy confidence, because he sees the feeble productions of the drawing-master and feels he has little to learn in order to become one himself. I shall never forget my first attempt in the elocution class at school. The Professor selected a piece for the day—it was to be learned letter-perfect. Now I unfortunately parodied it and burlesqued the Professor, who stood at the end of the library, giving us suitable actions to the words. We all faced him like a company of soldiers formed in a square. Being small, I, sheltered by the big boys in front, indulged in my antics with impunity. Certainly I did not want confidence at that moment. This over, we sat down round the library, and then the custom was to call out a boy to recite the piece of the day alone for the benefit of the others. He called upon me! Confidence had fled. I was not struck with stage fright, but with Professor fright. I tried to repeat the words and thought I did, but not until I was stigmatised by the Professor as incorrigible, and ordered to sit down, was I aware that I had really given my parody and not the piece.[Pg 159]

When I went in search of another Professor this incident of my last came to my memory, and I felt unhappy. Attitude is everything, thought I. I shall look in at the picture galleries as I pass and compare the oratorical attitudes of the people of the past. I was rehearsing before one in the National Gallery when my antics attracted a lady. I looked round to see the effect—she was laughing. It was Miss Mary Anderson, the celebrated actress. I told her I was about to lecture and was on my way to take lessons in elocution. "Do nothing of the sort," she cried. "The public does not want to hear your attempts at elocution. Say what you have to say in your own way. Speak slowly and distinctly, and let everyone hear right at the end of the room." So it came to pass that Miss Mary Anderson was my only teacher in elocution, and this was the only lesson I received. Although what I say on the platform may not be worth listening to, I take good care that no one has to ask me to speak up, and put their hands to their ears to hear what I am saying; nor do I think, as I avoid the "preachy" style of delivery, my audiences get weary of hearing my voice.

MY FIRST PLATFORM.

DESIRE," I rehearsed my first lecture, "Art and Artists," at the Savage Club, previous to my giving it in public. In those days the Savages smoked their pipe of peace in a long room in the Savoy, overlooking the graveyard where so many of their tribe lay at rest. I recollect the reading-room at the back looked on to a huge building with mournful black lettering on it, announcing the fact that it was the office of some Necropolis. Truly a doleful surrounding for the club whose members are engaged in promoting the gaiety of nations! The long room was divided into two, the