A VESUAL MODE 0? msmucmm FGR THE
TEACHING OF ORAL JNTERPRETATIQN To men
30mm STUDENTS ON THE JU‘RIOR AND SENIOR LEVEL

Thesis for the Segree of M A. ‘
MICHIGAN STATE UNWERSITY
MAME E‘ HERRéNGTON
1957

  

LIBRAR Y
Michigan State
University

 
     

Ihhsas

 

A VISUAL NOOE OF INSTRUCTION FOR THE TEACHING
OF ORAL INTERPRETATION TO HIGH SCHOOL
STUDENTS ON THE JUNIOR AND SENIOR LEVEL

By

Marie E. Herrington

A THESIS

Submitted to
Hichi¥an State University
in partial fu fillment of the requirements
for the degree of

MASTER OF ARTS'
Department of Speech

1967

Copyright by
MARIE E. HERRINGTON

1967

ABSTRACT

A VISUAL MODE OF INSTRUCTION FOR THE TEACHING OF
ORAL INTERPRETATION TO HIGH SCHOOL STUDENTS
ON THE JUNIOR AND SENIOR LEVEL

by Marie E. Herrington

Oral interpretation is not frequently included in the
high school curriculum. Part of the reason for this may be
the lack of materials available for the teacher's use.
Frequently. too. teachers are afraid to meet the challenge
that oral interpretation raises. This thesis, therefore, is
a compilation of materials applied to the overhead projector.
I have created a series of tranSparencies covering oral
interpretation. In addition, I have included materials to
be used for demonstration purposes, lesson plans. a rationale
of my choice of materials, and some research material which
supports the theory that children do learn better if they
visualize what the teacher is talking about.

This mode of instruction is not based on one particu-
lar text. I have taken materials from several texts. as well
as from various other sources. The value of this curriculum
has been weighed to a limited extent. Included in this thesis
is an evaluation of the mode of instruction after it was
taught to four different classes of high school students on
the junior and senior levels. This evaluation is based on

my reactions as well as those of some of the students.

 

Marie E. Herrington

It is my hope that teachers and students will
benefit from this thesis by taking it into the classroom
and using it.

ACKNOWLEDGMENTS

This thesis has become a reality through the help
of a great many people. Foremost on the list is my family
and particularly my husband, whose patience and encourage-
ment have always kept me going. I also am ever grateful
to the committee of advisors who took time and effort to
guide this thesis. Particularly, I am thankful for the
extra encouragement from Dr. F. Alexander. Last, I wish
to thank my classes for their honest opinions about the

curriculum.

ii

TABLE OF CONTENTS

Page

ACKNOHLEDGMENTS . . . . . . . . . . . . ii
Chapter

I. TEACHING OF ORAL INTERPRETATION . . . . I

II. VISUAL MATERIALS . . . . . . . . . 15

III. COLLECTED MATERIALS FOR DEMONSTRATION . . 63

IV. LESSON PLANS . . . . . . . . . . . 99

V. EVALUATIONS . . . . . . . . . . . 106

VI. SUMMARY AND CONCLUSIONS . . . . . . . llZ

BIBLIOGRAPHY . . . . . . . . . . . . . 115

iii

CHAPTER I
TEACHING OF ORAL INTERPRETATION

Introduction
' The area of oral interpretation is frequently left
untouched by the speech teacher on the high school level,
and the teachers who do incorporate oral interpretation into
their speech-dramatics program often rely on the standard
text book for a teaching tool. I am not satisfied with a
text book if it is not supplemented with other materials.
Therefore. my purpose for creating a visual mode of instruc-
tion in the area of oral interpretation is to offer a more
varied. interesting, and flexible mode of instruction.
Primarily I created this mode to fit the individual class-
room situation. Flexibility is the key to this.

Oral interpretation is the art of creating an image in
the mind of the listener. through the effective use of the
reader's voice and body. Let me break this definition down.
Oral interpretation is an art because it requires a specific
talent to which one applies acquired skills. This talent
may be inborn or cultivated. The skill is that of being able
to imagine and recreate an image. Since oral interpretation
involves the voice. there is also a reader and a listener.
The listener not only hears. but he also sees. Hence there
is a need for the reader to be conscious of his body as well
as his voice. To summarize: a reader recreates a visual

l

2

image in the mind of his listener. This image is based on
literature and transmitted through the voice and body of the
reader.

Oral interpretation differs from acting because we iden-
tify the speaker with the material. when acting. the material
is identified with the play; and the speaker is identified
with the character he is portraying. The interpreter
suggests the character.

Oral interpretation differs from elocution because the
former focuses the attention on the speaker; while the latter
focuses the attention on the content. The interpreter need
not worry about his techniques. He is concerned with the
mood he creates.

when people are interpreting they feel they are recre-
ating. This is because they are absorbing or assimilating a
literary work; ”feeling" the mood of the work; and recreating
this mood for the listener.

Memorization. costumes. setting. and make-up are not
needed for the successful interpreter to communicate with
his audience. Thus. the person himself has only his own
resources to rely upon.

The field of oral interpretation offers a challenge to
anyone. However. I feel there is a tremendous potential in
our teenagers. The students in the junior and senior years
of high school are capable of performing this skill because
of their rich imaginations. lack of inhibitions. and sheer

enjoyment of performtng.

3

I have. therefore. created this mode expecially for
their needs and capabilities. This mode of instruction was
taught in Grand Ledge High School. Grand Ledge. Michigan.
The four classes in which this was taught were a mixture of
girls and boys on the junior or senior high school level.
They had enrolled in a Speech course. The classroom is
equipped with a stage and is physically advantageous for the
speaker. Additional equipment for this unit consists of an
overhead projector (see Chapter II). transparencies (included
later in this paper). a flat-matte screen. and the mimeo-
graphed materials included in Chapter III.

In order to evaluate the mode of instruction I have
set forth the following criteria:

l. Does the visual aid hold the students' attention
better than the traditional lecture method?

2. Does the color of the visual aid affect the interest
level? I

3. Does the use of the overhead projector permit better
control of learning and of the class activity?

4. Is the mode flexible?

5. Does the mode permit self-expression by the
students?

6. Hill the mode have value in future years to the
student after he has this class?

7. How does this oral activity affect stage fright?

Limitations
It should be noted that this unit has several limita-
tions. You need to work with a group of between fifteen and
twenty students. The personal attention each student requires

is such that a teacher needs as few pupils as possible. The

4

personal attention is mandatory when choosing materials and
recreating a mood. Since many students have a difficult time
freeing themselves from shyness. it is only through personal
attention that the student can perform well.

Another limitation is the interest level. Many boys
feel interpreting is silly or ”sissy stuff.” To overcome this
feeling. it is necessary to stress the variety of materials
available. For this reason. it is advisable that the teacher
be particularly aware of the students' reactions when the
topic is introduced. It is most important to hold the inter-
est of the entire class or bedlam could result. Therefore. I
have provided suggested materials which appeal to both the
boys and the girls. Usually. if this method is not successful.
a conference with the "stray“ student will remedy the problem.

A logical limitation is the equipment. Any overhead
projector will suffice. However. the one I used seems to be
the clearest projector I have seen. There are many techniques
for producing transparencies. I have used the easiest method
and the one that is fool-proof. This technique is described
later in the paper.

I feel that the majority of these limitations can be
overcome by the consciencious teacher who is fully aware of
the reactions and abilities of his class. And it is under

this assumption that I have created the mode to follow.‘

Plan of Study
This thesis consists of a brief history of oral inter-

pretation; a definition of various equipment and techniques

5

used; an explanation of the mode of instruction; a rationale
for the use of the overhead projector; the visuals and sup-
plementary material used in this mode; and student and teacher

observations of this mode of instruction.

History
Oral interpretation is not a newly developed area of
speech. In fact. it is as old as the Dionysian festivals in
Greece. The term "oral interpretation” has not always been
in existence either. And. some confusion of the first oral
interpretation is the result. If we define oral interpreta-
tion as reading aloud. we can trace its origin to the fifth
century B.C.1
In Greek education. interpretation was often merged
with rhetoric when literature and speeches were read
and declaimed in an effort to improve delivery.2
If we consider the origin of the seeds of oral inter-
pretation. we must travel back to earliest tribal rituals.
Stories and songs were handed down from generation to genera-
tion. Each new recipient added much original material and
exaggerated the old. Story tellers emerged and later the
balladeers. Thus. the histories. cultures. and legends of
one era gradually became the pr0perty of another. The art of

story telling remained as the primary form of oral interpre-

tation for several hundreds of years.

 

 

‘kari F. Robinson and E. J. Kerikas. Teachin s eech
Methods and Materials (New York: David McKay Company. Inc..

9pm e

2

Ibid.

6

It was not until the nineteenth century that oral in-
terpretation was even considered as a part of a curriculum.

[At this time a woman by the name of] Gertrude
Johnson inaugurated a course in oral interpretation
of literature at the University of Hisconsin. This
course was the first of its kind to be given academic
credit among the colleges and universities in the
United States.3

For approximately seventeen years she gave her students an
opportunity to learn about and demonstrate oral interpreta-
tion through a coordinated course in this field. She stressed
the natural ability and talent of the interpreter. Thus.
the course became a chance for one to freely express himself
through the interpretation of literature.

Professor Johnson was a woman who relied on the inner
person to recreate the literature. She did not coach her
students. but replaced this with encouragement. Her four
basic principles which follow have come down to us as a
guideline for the effective interpretation of literature.

l. All that appears or happens in the situation sug-
gested by any literature-oprose. poetry. or
drama--should be conceived in the imagination
of the reader and placed "off stage.“

2. Toward the situation held in the imagination. the
reader should react as an observer and never as a
participant in anything on stage. A reader's
reactions should be as positive as those of an
actor. but because of the difference in perspec-
tive which is qualitatively different.

3. The best and most natural preparation and presenta-
tion for the interpretative approach can be achieved
through a skillful use of the manuscript. rather
than from memory.

6. Both the understanding of content and the expressign
of it can be. and should be. trained and improved.
3E. Ray Skinner. "Gertrude Johnson: Pioneer in the Oral
I"terpretation of Literature.“ The Speech Teacher. XIV. No. 3

(September. 1965). p. 226.
41am... p. 223.

 

 

7

Audio-Visual Materials and Techniques

For many years man has been communicating visually.
He can see the early pictures drawn by cave man and
receive a message. Down through clay engraving. papyrus.
chalk. charcoal. the printing press. camera and projector.
man has shown his own thoughts. Today. we have even more
techniques available to us. He have but to look around
us to realize the vast gold mine of things which visualize
our ideas. Some of these methods are more suited for a
particular use. and some are specifically appropriate in
the field of education. One of these is the overhead
projector.
Overhead'projection? No. the projected light
does not pass over the head of the viewer. The
name comes from the fact that the projected
image is behind and over the head of the speaker.
In overhead projection a tranSparent ”visual“ is
placed on a horizontal stage on top of a light
source. The light passes vertically through this
transparency and then is reflected at an angle
onto the screen in back of the speaker.5
This projector is relatively simple to operate. It
weighs around fifteen pounds and is completely portable.
It is best to set it on a level surface and let it remain
there until it cools after using. Once it is on a surface
it should not be moved while the light is on as this can

cause the bulb to burn out more quickly.

 

5Ozalid Audio-Visual Department. The See Hhat You
Mean--Visual Communication with the Overhead Pro ec.or
{Johnson CIEy. New—York: OzaTid:DTvision of Generaf‘lniline
and Film Corporation. l959). p. l5. '

 

The head support should be installed and attached
to the machine. To this attach the head assembly. This
houses the top mirror. You may easily adjust the mirror
with a knob on the head assembly. This allows for a
clear image on the screen. Place your transparency on
the transparency table and focus the picture with the
knob. after turning the light and fan on. It is impor-
tant to have your transparency on the table before
turning on the light. If you swish transparencies back
and forth across the table or screen. your audience will
become quickly distracted. Therefore. turn off the
projector if you plan to lecture in between the trans-
parency viewing.

The screen used with an overhead projector should
be a matte-surface screen. Hhile a glass bead screen has
more reflective power the matte-surface screen allows for
better viewing as far as uniformity and brilliance are
concerned. This screen is a fairly standard piece of
equipment in the public school. Some classes have permanent
ones hanging. If not. one may set on its own standard. It
should be at a 90 degree angle with the light beams of the
projector. Now. the screen should be placed as high as is
possible in the classroom so that all the students can see
the visual image. It is therefore suggested that the screen
be secured at the bottom. If this happens. there will .
frequently be a tilt to the screen thus distorting the 90

degree angle of the projector beam. To compensate for
this. the mirror or head assembly may be tilted upward
until the center ray of the light will hit the screen at
a 90 degree angle.

The transparency is one of the most important
things in this method. They are made of a plastic
mylar substance which is clear. They are available in
various colors as well as a clear transparent sheet.
These come in standard page size and may be easily cut
to fit any size or shape desired.

In addition to transparencies. there is an adhesive-
backed colored film which may be used to add color to a
transparency. It is impossible to reproduce an image on
this. However. it does add color and variety to any
transparency.

Another important item is the cardboard frame used
for mounting the transparency. It is not included with
this paper due to its size. However. it is a piece of
sturdy cardboard which surrounds the transparency. The
sheet may be taped to the mounting frame easily. This
process protects the tranSparency and affords easy
handling. They may be easily made or cheaply purchased.

To make a transparency you may use a variety of
methods. I have chosen the photocopy process. This
involves a Thermo-Fax 45C Secretary and lO7 Dry Photo

Copier manufactured by Minnesota Mining and Manufacturing

10

Company. Thermo-Fax Division. The former machine demands
that the material to be copied be written with a carbon
based substance. This substance appears in the form of a
pen or typewriter ribbon and is commonly found in office
supply stores. Any paper may be used with either machine
as a writing surface. This sheet of paper together with
a mylar sheet (film) is fed into the machine. The machine
then. through a heat process. transfers the carbon images
to the film in a matter of seconds. Both sheets are
returned by the machine. The result is a printed visual
and the original sheet. which is in no way changed. The
variety of film offers a variety of transparencies.

The 107 Dry Photocopy Machine produces half-tones.
This process lifts pictures and images. either colored
or black and white. and creates a grey-toned transparency.
The transparencies used for Imagery exercises in Chapter
II demonstrate this technique. This technique does not
demand a carbon print on the original.

The Thermo-Fax 45C Secretary demands a carbon print
on the original. This heat and light process (infra-red)
produces a visual such as the ones with writing on them

in Chapter II.

ll

Rationale

Many teachers are afraid to try something new in
the classroom. Thus. the overhead projector is often a
neglected piece of machinery left in the library or
audio-visual center to collect dust. Contrary to popular
belief. the overhead projector is a relatively simple and
foolproof piece of equipment to use. In addition to its
ease. it is versatile and lightweight. Some of the other
advantages are listed below.
l. You as the teacher. place the transparency
on the screen and see it exactly as the
student will see it.
2. You face the class the entire time you are
using the overhead projector. The picture
is projected on to a screen behind you. but
facing the students. Thus. you have complete
control of discipline and reactions to learning
in front of you.
3. Size of the picture is variable. It may be
as large or as small as the teacher wishes.
The size changes simply by increasing or
decreasing the distance between the projector
and the screen.
4. The projector itself is turned on with a simple
switch. It automatically turns on its own

cooling fan. motor. and lamp. You need only

12

adjust and focus your picture. Also. the
projector is lightweight and may be easily
carried to any position in the room. The

bulb may be easily replaced; and the screen

may be easily cleaned.

The materials the teacher uses may be of many
varieties. He may create his own visuals
through a machine or chemical process. He

may copy colored and black and white pictures.
He may copy printed material. Also, there is

a vast amount of pre-made visual kits available
in the subject areas.

The machine may be turned off when you wish

the students“ attention to come back to you.
Because you are there next to the projector,
you need not legse/contact by walking back

and forth.

Because the students may need repetition. you
have a permanent file of visuals which you may
use whenever you wish. These may be kept
indefinitely and reused. If a student is
absent. he may easily preview the materials
missed through the use of the visuals.

Students can use the transparencies themselves.
By using a wax pencil, they may write down their

own line interpretations or stress marks. Tests

13

may be given on the overhead projector also.

Numerous studies have been conducted to
determine how much time is saved by using
transparencies and the quality of learning that
results from their use. One such extensive
experiment was conducted at the University of
Texas in l960. There the object was to compare
results in engineering drawing classes. some of
which were taught with careful use of the chalk-
board and others with projected transparencies.
The experiment. conducted by C. H. Chance. was
supported by funds from the National Defense
Education Act. It required a full semester and
involved the use of 200 transparencies and 800
overlays. The results showed a saving of l5
minutes of every 60-minute lecture period when
transparencies were used. The experimenter
found a measurably higher attentiveness in the
transparency group. which, in final examinations
and final grades, was also significantly superior
to the group taught by chalkboard. It was not
surprising that both students and instructors
favored the use of transparencies.6

The overhead projector has made its debut in the
field of business and education. He. as educators, must
develop its potential power and advantages to their full
value. By becoming familiar with this machine and by
using it, we are progressing with education.

The following chapter contains the transparencies

used in one area of Speech education, oral interpretation.

 

6James H. Brown, Richard B. Lewis and Fred F.
Harcleroad. A-V Instruction--Materials and Methods
(2d ed.; New YorE? McGraw-HTTT Book Company. 1959),
pp. 472-473. '

14

The chapter is arranged so that the reader may read
the explanation of the visual before he sees it. The
actual visuals used in teaching this mode of education

are included in the chapter.

CHAPTER II
VISUAL MATERIALS

This section contains the actual visual aids I used.
These transparencies may be used repeatedly and stored in-
definitely. Hhen they are used it is helpful to frame them
with cardboard for ease of handling. They are made of
acetate. The 3M Company distributes this type of transpar-
ency. I have used their brand of acetate as well as their
equipment for creating the visual aid. This equipment
includes:

1. Thermo-Fax Secreta;y_(Model 45C).--This machine
copies carbon images from a sheet of paper on
to the clear acetate sheet.

2. 3M Brand Dry Photo Copier (Model 76).--This
machine copies colored pictures on to an acetate
sheet. The resulting image is black and white
halftone. This is a visual which produces color
in terms of grey. browns. and neutral shades.

3. §!_§;gnd Overhead Projector (Model 66).--This
machine is the projector which transfers the
image from the acetate sheet to the screen.

It is frequently referred to as the projector.

15

16

This definition of oral interpretation is a workable
one. Since I feel you should start with knowing what you
are doing, I started with a definition.

I feel there is a definite art involved in oral
interpretation. The entire mind and body are turned
toward a creative effort. And to do so successfully, is
an art.

The reader next must concentrate on creating a mental
image in his own mind through his ability to re-experience.
This experience he recalls. must be communicated to the
listener through the reader's body and voice. And the
final result is for the listener to get the same image
as the reader.

I have chosen this definition because it is clear.
easy to understand and brief. It is one of my own devising
and my own feelings. I have found that it has a great
amount of meaning to the student because he can understand
the words. They are familiar to him.

He Spend a good deal of time discussing this defini-
tion. It is most important that you explain clearly what
this is all about. Of course, the following visuals
further explain it. and how to do it. However, it does
not hurt to frequently review this definition and to apply

it to your own demonstrations and those of the students.

Gem. Ina-reepeen'm-mro

Arum: .. .:

 

 

 

morerasqsaml JesO

 

18

Imagery appeals to the senses. There are six vari-
eties. The first one is visual and the transparency
explains this. A person recalls or imagines a visual
image. The next one is auditory. The reader recalls a
sound and reacts to it. Olfactory is the sense of smell;
gustatory recall or sense of taste; and lastly, tactile
refers to our sense of touch and thermal to our response
to heat and cold. Many of these appeals are dependent
upon one another. For instance. you not only see a fire.
but you hear, smell. touch and respond to the heat. He
also have imagery which involves the muscles. Physical
activity is called kinetic, and kinesthetic refers to the
way muscles relax and tense. All are important to the
interpretor.7

I have chosen to draw the picture to demonstrate
what is going on in the reader's mind. It is a universal
picture as it deals with common symbols. The picture is
amusing due to its simplicity. This is an important key
to using the overhead. for if too much is crowded on to
one visual the student will become involved with the con-
fusion. rather than with the point the teacher is trying

to make.

7
Karl F. Robinson and Charlotte Lee, S eech in
Action (Chicago: Scott, Foresman and Company. 1965),
pp. 335-336.

 

 

 

 

1‘

..~ 94‘"

 

20

This exercise is taken from Speech in Action, p. 255.

 

I have used it to explain Imagery. I ask the students to
think of a mental picture of a forest and a woods. Then

we discuss what is in their minds. The students often

come up with other examples such as pretty and beautiful;
risky and dangerous; hurry and run; canine and dog. This
can be a lot of fun and also put your imagination to work.

I try to start with concrete words (nouns) and work into
adjectives. adverbs. and verbs. It is interesting to recall
the meanings we attach to words. And, also, it makes the

students more aware of what word they use to describe.

 

 

 

20

This exercise is taken from Speech in Action, p. 255.
I have used it to explain Imagery. I ask the students to
think of a mental picture of a forest and a woods. Then
we discuss what is in their minds. The students often
come up with other examples such as pretty and beautiful;
risky and dangerous; hurry and run; canine and dog. This
can be a lot of fun and also put your imagination to work.
I try to start with concrete words (nouns) and work into
adjectives, adverbs, and verbs. It is interesting to recall
the meanings we attach to words. And, also, it makes the

students more aware of what word they use to describe.

 

 

 

 

 

 

22

Along with the previous transparency, this one
explains the word "forest." It is from a poem by
Longfellow. I quickly flash on the next transparency
so as to give the students a pictoral view of the word.
He then discuss how their mental image differed and

agreed with the next visual.

 

 

24

This visual shows the pines tipped with snow. The

students enjoy the contrast and comparison with their own

mental picture.

 

 

ii

II
II
‘-

 

" H . _——_...—.___

 

 

 

 

 

26

This poem by Frost, describes a woods. It is used

to compare the woods to the forest. The lines are

familiar to many students and are concrete.

 

 

 

 

 

 

BOBCCJT F10; +

 

+4039 7613an

 

 

28

This picture shows the woods. Again I ask

 

students to describe their mental pictures.

 

 

 

 

 

 

 

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30

A further imagery exercise can be done. Ask all
the students but one to cover their eyes. Flash the
following picture on the overhead screen. Ask the one
remaining student to describe the picture to the rest
of the class. Then before the class sees the picture,
ask them to compose a mental picture from the description
of the one student. When they see the picture ask how
many came close to seeing the same mental picture. This
exercise demonstrates the difficulty the reader has when
he tries to re-create a picture in the mind of his
audience.

I chose this picture as it is an unusual one. It
demands imagination; and very few students can mentally
recall the picture from an oral description. Thus it
supports my emphasis on the need to analyze, study, and

practice.

 

 

 

 

 

32

This tranSparency is used in the previously

described Imagery exercise.

 

 

34

Now that I have covered imagery, I introduce the
- actual topic--oral interpretation. They have an idea
of what interpretation demands. Now, I explain how it
is done. I choose to give the students a wide range of
literary materials to choose from. An ideal situation
allows for each student to try each type. However, on
the high school level, interpretation is a unit, and
therefore, limited by time. It is a good idea to Stress
the variety and types of materials. At this point I
try to demonstrate different types by interpreting the
materials listed in Chapter 111.

At this time I also give the students the Library
Sheet in Chapter 111. Many students do not know how to
use the library. Others have forgotten. So we spend
some time going over the sheet and studying examples.
A tour of the library does help, too. The student can
see where materials are and connect the terms with the

actual object.

 

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36

After a choice comes the analysis. This is done so
that the interpretor knows what he is interpreting. After
all. we cannot convey a meaning if we do not have one. It
is important to stress the fact that we can never know
the author's true intent, but we analyze to find out as
much as we can about his intent. A general encyclopedia,

biography, or Who's Who can give author information. It

 

is also a good idea to read several selections by the
same author in order to understand his style and main
ideas. A dictionary is a handy and necessary tool. A
reader must understand each word. If he fails to do so he
may misinterpret or mispronounce a very important word.

A student need not fear the process of analysis.
This does not spoil good literature. Rather it enables

us to understand the author's skill and intent.

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38

The need for practice cannot be stressed too much.
Many students confuse reading with interpreting and
neglect to practice because of the false impression of
interpretation being easy. It helps to explain how to
practice. A mirror helps a student to observe muscle
.reaction and physical reaction. Encourage him to read
aloud until he can do so without the need to constantly
look at his paper. At this point eye contact may be
discussed. There is a need for the student to under-
stand that he must communicate with the audience with
his entire body.

Some students have trouble “feeling" the mood of
literature. A suggestion is to let your emotions guide
you. Chances are that students will be fairly inhibited
at first and tend to hide emotions. Encourage them to
free themselves and truly express their feelings. It is
easier to quell an emotion than to overemphasize it.

Voice alone cannot do the whole job. Your

listeners see you before they hear you. The
way you walk to the platform can set a mood.

As an interpreter, you must have a flexible.
controlled body so that you look at ease and

so no personal mannerisms distract the audience
from the experience you are sharing with them.
The better your technique, the less obvious it
is. They must have their attention free to

concentrate on what you are saying, not on how
you are saying it.

 

8mm. p. 259.

 

   

 

 

 

40

An introduction is very important to the audience.

It sets the scene. The reader need not tell what the
work is about. This will be evident from his reading.
Speak as you would normally. Be as brief and clear as
possible. The reader may often wish to pause before
beginning so as to gain a mood.

This transparency lists several things the reader
may include in his introduction. If more than one
character is included, the reader may need to clarify
this. The time and setting are also important in some
instances. It is permissible for a reader to connect
several short works by introductory methods.

Encourage the students to work out several intro-

ductions and rehearse them with his reading.

l

 

 

"11“..0-

 

42

At this point, I use a poem and start the process
of analysis. It helps if you ask each student to bring
in a poem and apply the analysis to his own poem. This
affords practice and exposes the student to literature.

It is necessary to review the poetry sheet in
Chapter III. This will give you a common language and
review session.

The first step is to analyze the poem in terms of
ideas. It doesn't matter what the poem is, there will
be ideas in it. Along with this step, the second step
analyzes the meaning and mood. Explain the difference
to your students. Meaning is what the author is trying
to say. Mood is how he says it.

 

 

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44

Charlotte Lee suggests the three principles for
oral interpretation. These are general guidelines to
remember. At this point a student can become frustrated
if he is unable to dig for inner meaning and mood. So.
it is a good idea to stop and remind the student that
meaning and mood are often the same thing. He only look
at them differently when we are studying the poem. It
will help the student if he realizes he is interpreting
the author's works. He cannot express the exact meaning,
but he tries to get as close to the author's meaning as
possible. Lastly. the student should be reminded that
the techniques discussed (practice. introduction in a
normal voice) and the techniques to be discussed (rate,
emphasis, quality, etc.) should not be applied in a way
that seems artificial and false. Never raise your voice
because everyone else does when they utter that word.

Let your emotions guide you.

 

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'46

’This sheet explains how to go about creating a mood.
The need to concentrate cannot be stressed too much.
Since every muscle is used, you the reader must be con-
stantly conscious of what you are doing. This is.
extremely difficult for students to do. Again, ask your
students to recall the imagery exercises. They would. -.
see something and then re-tell about it. Interpretation
is the same thing.- The student must mentally experience
and call on past experiences. Then he re-experiences
the mood and creates an interpretation. Lastly I have
stressed the word "Practice.“ '

The color and technique of this transoarency adds

interest and emphasis to this visual.

 

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48

The next two visuals deal with techniques of oral
interpretation. I refer to a technique as a tool or

method for interpreting. Lee. in her book, Oral Inter-

 

pretation, states the following ideas.
Each main idea and word needs a particular amount
of stress. This may be attained through lowering or
raising the voice, pausing before or after. and many
other ways. This technique is one of the most important.
It is not a terribly difficult one to grasp. I ask my
students to underline words in their poem which should
be emphasized. Through oral reading, the audience can
quickly determine if the word emphasized is the appropriate
one. Also, there is a visual later in the thesis which
demonstrates this technique using the class as a whole.
Rate is the Speed at which we speak. But along
with rate comes pausing. This is difficult for a beginner
to do. They usually will read too quickly. It helps
to demonstrate how the pause and various rates can be
used as a technique. Poetry demands much emphasis on rate.
Again, the students' individual poems could be used as
examples.9
Quality is closely connected with tone. This

technique is the most difficult to incorporate because of

 

9Charlotte 1. Lee, Oral Interpretation (2d ed.;
Boston: Houghton Mifflin Cbmpany, 1959). p. 130.

 

 

 

 

 

 

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49

its intangibility. I try to explain that it is the little
‘ extra which makes the reading sound perfect. It is a
technique which will not occur to the beginning reader.
However, it is one that needs stressing.]0'
Pitch and force are tied together because one can
often control the other. We refer to pitch as a tone
level in the voice, created by tension of the vocal bands.
The force with which we let air pass through the vocal
box will influence the pitch. Thus we do breathing
exercises to demonstrate how this works. It is difficult
for a student to change his pitch and air stream flog» But,
it can be done. As for force, this is best explained by
using a match and enunciating close to it when it is lit.
The wavering of the flame will be influenced by the force

of your breath. Again, demonstrating appropriate use of

pitch and force does help the student.
Pitch is predetermined by our physical makeup. The

vocal bands and larynx control the range of the voice.
However, some of us inadvertantly raise our pitch (according
to a musical scale) when we become nervous. Therefore, it
is important to stress relaxation and proper breathing.

(My students had been through this unit eariler in the year

and were able to do breathing exercises.) It is also a

 

 

50

good idea to demonstrate how a change in pitch can add
considerably to the character in the interpretation.H
Rhythm is the most difficult of the techniques to
understand. It is quality of balance which works through
a certain design of the author. By this I mean, that
climax and anticlimax together in a set pattern result
in a rhythm. The stressed and unstressed syllables of a
poem create rhythm. The hero and villian in discourse
equal rhythm. The best way to explain this to the student
is to start with poetry and explain beat. From this
launching point, the teacher may go into prose, songs,

and other literary areas.12

 

 

 

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53

Rhymed verse is brought in at this point in con-
nection with the poem each student has selected for study.
He thoroughly discuss the poetry sheet in Chapter 111.
Then we apply what is on the sheet to the visual. I have
put examples of rhymed verse, free verse, and blank verse
on visuals so that the entire class may understand what
the difference is by seeing the difference. I also can
underline words and mark the visuals with a wax pencil to

illustrate a particular point.13

 

‘3Hilliam Leahy, Fundamentals of Poetry_(Chicago:
Kenneth Publishing Company. 1963). pp. 10:11.

 

 

 

 
 
   
  
     

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57

Ozymandias isa fine example of a poem rich in imagery.

 

I use it to explain emphasis, imagery. and other techniques
used by the reader. The class reads it silently as I read
it out loud for meaning. He then break it down into its
parts and analyze it. I also find this poem to be one
that the students are fairly familiar with. ,This helps,
as they feel more at home with the work.

The final use of this visual, is for the teacher to
interpret it. Again, demonstration is the best teaching

device.14

 

14Lee, op. cit., p. 265.

 

 

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59

This poem is used in the same manner as the previous
one. I have chosen it because it has a deeper meaning
and the tone can be interpreted many different ways. It
leaves room for individualism and is short enough for

each student to read.

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This final visual is a series of questions which
may be used for reviewing purposes, testing purposes, or
discussion purposes. I have tried all three, and find
them to be successful. They are fact questions, and I
find a need for more thorough testing at various inter-
vals through oral presentation and written comprehension
tests.

In addition to the visuals, the teacher needs to
demonstrate. Therefore, the next section is devoted to
suitable materials for oral interpretation by the

teacher.

 

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QUESTIONS

principles underlie the study of oral interpretation?
study a poem to get its thoughts?

study a poem to get its mood!

phrase the lines of a poem?

achieve prOper emphasis?

express the rate of a poem?

adapt the quality of your voice to the reading of a poem?

express the rhythm of a poem?

lhat are the usual errors made by untrained readers of poetry?

 

 

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CHAPTER III

COLLECTED MATERIALS FOR DEMONSTRATION

The materials in this section are merely an example

of the vast amount of materials available for the inter-
preter. They have not purposely been ”stolen" from the
authors. Rather, I have used them with the intent that
the interpreter will return to the original publication
to seek further information.

There are various types of material included here.
I have interpreted these in front of my classes So that
they may see the variety of materials as well as the
applied techniques. Also. it is helpful to ask various
students to try to interpret all or part of the works.
Thus, this collection serves as a convenient collection

that can quickly be pulled from the desk drawer if the

student needs an example of a particular type of literature.

I have chosen the following materials because of
their vivid illustrations. colorful language, emotion.

and variety.

63

64

SONG

u*

Excerpt from "Eleanor Rigby

Ah look at all the lonely people

Eleanor Rigby picks up the rice in
the church

where a wedding has been

Lives in a dream

Waits at the window, wearing the
face that she keeps in a jar by the door

Who is it for?

Eleanor Rigby died in the church
and was buried along with her name
Nobody came.

 

John Lennon and Paul McCartney, "Eleanor
Rigby“ (London: Northern Songs. Ltd. , l966).

65

POEM

The Creation*

And God stepped out on space,
And he looked around and said:
I'm lonely -

I'll make me a world.

And far as the eye of God could see
Darkness covered everything,
Blacker than a hundred midnights
Down in a cypress swamp.

Then God smiled,

And the light broke,

And the darkness rolled up on one side.
And the light stood shining on the other,
And God said: That's good!

Then God reached out and took the light in his hands,
And God rolled the light around in his hands
Until he made the sun;

And he set that sun a-blazing in the heavens.
And the light that was left from making the sun
God gathered it up in a shining ball

And flung it against the darkness,

Spangling the night with the moon and stars.
Then down between

The darkness and the light

He hurled the world;

And God said: That's good!

Then God himself stepped down -

And the sun was on his right hand,

And the moon was on his left;

The stars were clustered about his head,
And the earth was under his feet.

And God walked, and where he trod

His footsteps hollowed the valleys out
And bulged the mountains up.

 

*James Heldon Johnson, God's Trombones: Seven Negro
Sermons in Verse (New York: Viking Press, 1965).
pp. lT-iO.

66

Then he stopped and looked and saw

That the earth was hot and barren.

So God stepped over to the edge of the world

And he Spat out the seven seas -

He batted his eyes, and the lightnings flashed -
He clapped his hands, and the thunders rolled -
And the waters above the earth came down,

The cooling waters came down.

Then the green grass sprouted,

And the little red flowers blossomed,

The pine tree pointed his finger to the sky,
And the oak spread out his arms,

The lakes cuddled down in the hollows of the ground,
And the rivers ran down to the sea;
And God smiled again,

And the rainbow appeared,

And curled itself around his shoulder.

Then God raised his arm and he waved his hand
Over the sea and over the land,

And he said: Bring forth! Bring forth!

And quicker than God could drop his hand,
Fishes and fowls,

And beasts and birds

Swam the rivers and seas,

Roamed the forests and woods,

And Split the air with their wings.

And God said: That's good!

Then God walked around,

And God looked around

On all that he had made.

He looked at his sun,

And he looked at his moon,

And he looked at his little stars;
He looked on his world

With all its living things,

And God said: I'm lonely still.

Then God sat down -

On the side of a hill where he could think;
By a deep, wide river he sat down;

With his head in his hands,

God thought and thought,

Till he thought: I'll make me a man!

67

Up from the bed of the river

God scooped the clay;

And by the bank of the river

He kneeled him down;

And there the great God Almighty

Hho lit the sun and fixed it in the sky,

Hho flung the stars to the most far corner of the night,
who rounded the earth in the middle of his hand;
This Great God,

Like a mammy bending over her baby,

Kneeled down in the dust

Toiling over a lump of clay

Till he shaped it in his own image;

Then into it he blew the breath of life,
And man became a living soul.
Amen. Amen.

68

NARRATIVE POEM

Excerpt from John Brown's Body*

 

Cudjo buried the silverware

On a graveyard night of sultry air

While the turned sods smelled of the winter damp
And Mary Lou Wingate held the lamp.

They worked with a will. They did not speak.
The light was yellow. The light was weak.

A tomb-light casting a last, brief flame

Over the grave of Wingate fame.

The silver bowl of the Wingate toasts,

The spoons worn hollow by Wingate ghosts,

Sconce and ladle and bead-rimmed plate

With the English mark and the English weight,
The round old porringer, dented so

By the first milk-teeth of the long ago,

And the candlesticks of Elspeth Hackay

That she brought with her youth on her wedding-day
To light the living of Wingate Hall

While the mornings break and the twilights fall
And the night and the river have memories

There was a spook in Cudjo's eyes

As he lowered the chests where they must lie
And patted the earth back cunningly.

He knew each chest and its diverse freight
As a blind man knows his own front gate.
And, decade by decade and piece by piece,
With paste and shammy and elbow-grease,

He had made them his, by the pursed-up lips
And the tireless, polishing fingertips,
Till now as he buried them, each and all,
What he buried was Wingate Hall,

Himself and the moon and the toddy-sippers,
The river mist and the dancing-slippers,
Old Marse Billy and Mary Lou

And every bit of the world he knew,

Master and lady and house and slave,

All smoothed down in a single grave.

He was finished a length. He shook his head.
”Mistis, reckon we's done," he said.

They looked at each other, black and white,
For a slow-paced moment across the light.

 

*Stephen Vincent Benet, John Brown's Body(Garden
City, N.Y.: Doubleday, Ooran and Co., Inc.. 1931).

69

Then he took the lamp and she smoothed her shawl
And he lit her back to the plundered Hail,

To pray, with her old serene observance

For the mercy of God upon faithful servants

And a justice striking all Yankees dead

On her cold, worn knees by the great carved bed,
Where she had lain by a gentleman's side,

Wife and mother and new-come bride,

Sick with the carrying, torn with the borning,
Waked by the laughter on Christmas morning,
Through love and temper and joy and grief,

And the years hone by like the blowing leaf.

She finished her prayer with Louisa's child,
And, when she had risen, she almost smiled.
She struck her hand on the bedstead head,
"They won't drive me from my house," she said,
As the wood rang under her wedding-ring.

Then she stood for a moment, listening,

As if for a step, or a gentleman's name,

But only the gnats and the echoes came.

7O

SHORT STORY
Excerpt from The Telltale Heart*

When I had waited a long time, very patiently,
without hearing him lie down, I resolved to open a little--
a very, very little crevice in the lantern. So I opened it
--you cannot imagine how stealthily, stealthily--until,
at length, a single dim ray, like the thread of the Spider.
shot from out the crevice and fell full upon the vulture
eye.

It was open-~wide, wide open--and I grew furious
as I gazed upon it. I saw it with perfect distinctness--
all a dull blue, with a hideous veil over it that chilled
the vary marrow in my bones; but I could see nothing else
of the old man's face or person: for I had directed the
ray, as if by instinct, precisely upon the spot.

And have I not told you that what you mistake for
madness is but over-acuteness of the senses?--now, I say,
there came to my ears a low, dull, quick sound, such as a
watch makes when enveloped in cotton. I knew that sound
well, too. It was the beating of the old man's heart.

It increased my fury, as the beating of a drum stimulates
the soldier into courage.

 

But even yet I refrained and kept still. I
scarcely breathed. I held the lantern motionless. I
tried how steadily I could maintain the ray upon the eye.
Meantime the hellish tattoo of the heart increased. It
grew quicker and quicker, and louder and louder every
instant. The old man's terror must have been extreme!

It grew louder, I say, louder every moment!--do you mark

me well? I have told you that I am nervous: so I am.

And now at the dead hour of the night, amid the dreadful
silence of that old house, so strange a noise as this
excited me to uncontrollable terror. Yet, for some minutes
longer I refrained and stood still. But the beating grew
louder, louder! I thought the heart must burst. And now

a new anxiety seized me--the sound would be heard by a

 

*Edgar Allan Poe, "The Telltale Heart," in Good
Times Throu h Literature, ed. Robert C. Pooley, gt. al.,
(ffiicago: cott, Foresman and Company, l956), pp. GOTGl.

 

7T

neighbor! The old man's hour had come! With a loud yell,
I threw open the lantern and leaped into the room. He
shrieked once--once only. In an instant I dragged him to
the floor, and pulled the heavy bed over him. I then
smiled gaily, to find the deed so far done. But, for many
minutes, the heart beat on with a muffled sound. This,
however, did not vex me; it would not be heard through the
wall. At length it ceased. The old man was dead. I
removed the bed and examined the corpse. Yes, he was
stone, stone dead. I placed my hand upon the heart and
held it there many minutes. There was no pulsation. He,
was stone dead. His eye would trouble me no more.

72

PROSE

Excerpt from The Prophet*

 

Then said Almitra, Speak to us of Love.

And he raised his head and looked upon the people,
and there feel a stillness upon them. And with a great
voice he said:

When love beckons to you, follow him,

Though his ways are hard and steep.

And when his wings enfold you yield to him,

Though the sword hidden among his pinions may
wound you.

And when he speaks to you believe in him,

Though his voice may shatter your dreams as the
north wind lays waste the garden.

For even as love crowns you so shall he crucify you.
Even as he is for your growth so is he for your pruning.

Even as he ascends to your height and caresses your
tenderest branches that quiver in the sun,

So shall he descend to your roots and shake them
in their clinging to the earth.

Like sheaves of corn he gathers you unto himself.

He threshes you to make you naked.

He Sifts you to free you from your husks.

He grinds you to whiteness.

He kneads you until you are pliant;

And then he assigns you to his sacred fire, that
you may become sacred bread for God's sacred feast.

All these things shall love do unto you that you
may know the secrets of your heart, and in that knowledge
become a fragment of Life's heart.

But if in your fear you would seek only love's
peace and love's pleasure,

Then it is better for you that you cover your
nakedness and pass out of love's threshing-floor,

Into the seasonless world where you shall laugh,
but not all of your laughter, and weep, but not all of
your tears.

 

*Kahlil Gibran, The PrOphet (New York: Alfred A.
Knopf, 1965). pp. ll-ll.

73

Love gives naught but itself and takes naught but
from itself. '

Love possesses not nor would it be possessed;

For love is sufficient unto love.

When you love you should not say, "God is in my
heart," but rather, “I am in the heart of God."

And think not you can direct the course of love,
for love, if it finds you worthy, directs your course.

Love has no other desire but to fulfil itself.

But if you love and must needs have desires,
let these be your desires:

To melt and be like a running brook that sings
its melody to the night.

To know the pain of too much tenderness.

To be wounded by your own understanding of love;

And to bleed willingly and joyfully.

To wake at dawn with a winged heart and give
thanks for another day of loving;

To rest at the noon hour and meditate love's
ecstasy;

To return home at eventide with gratitude;

And then to sleep with a prayer for the beloved
in your heart and a song of praise upon your lips.

1‘ ’ .‘I Ill! [.

74

PROSE
Excerpt from Alice's Adventures Under Ground*

Down, down, down. Would the fall never come to an
end? ”I wonder how many miles I've fallen By this time?“
said she aloud. “I must be getting somewhere near the
centre of the earth. Let me see: that would be four
thousand miles down, I think--" (for, you see, Alice had
learnt several things of this sort in her lessons in the
schoolroom, and though this was not a very good oppor-
tunity for showing off her knowledge, as there was no one
to listen to her, still it was good practice to say it
over) “--yes, that's about the right distance--but then
what Longitude or Latitude line shall I be in?" (Alice
had no idea what Longitude was, or Latitude either, but
she thought they were nice grand words to say.)

Presently she began again: "I wonder if I shall
fall right through the earth! How funny it'll be to come
out among t e people that walk with their heads downwards!
But I shall have to ask them what the name of the country
is, you know. Please, Madam, is this New Zeland or
Australia?" --and she tried to curtsey as she spoke,
(fancy curtseying_as you're falling through the air! Do
you think you could manage it?) "And what_an ignorant
little girl she'll think me for asking! No, it'll never
do to ask: perhaps I shall see it written up somewhere."

 

Down, down, down: there was nothing else to do,
so Alice soon began talking again. "Dinah will miss me
very much tonight, I should think!" (Dinah was the cat.)
"I hope they'll remember her saucer of milk at tea-time!
Oh, dear Dinah, I wish I had you here! There are no mice
in the air, I'm afraid, but you might catch a bat, and
that's very like a mouse, you know, my dear. But do cats
eat bats, I wonder?" And here Alice began to get rather
sleepy, and kept on saying to herself, in a dreamy sort
of way “Do cats eat bats? Do cats eat bats?“ and some-
times “Do bats eat cats?" for, as she couldn't answer

 

*

Lewis Carrol, Alice's Adventures Under Ground
(New York: Dover Publications, Inc.. 1965), facsimiie
of the author's manuscript book with additional material
from the facsimile edition of 1886.

75

either question, it didn't matter which way she put it.

She felt that she was dozing off, and had just begun to
dream that she was walking hand in hand with Dinah, and

was saying to her very earnestly, ”Now, Dinah, my dear,
tell me the truth. Did you ever eat a bat?" when suddenly,
bump! bump! down she came upon a heap of sticks and
shavings and the fall was over.

Alice was not a bit hurt, and jumped on to her
feet directly: she looked up, but it was all dark over-
head; before her was another long passage, and the white
rabbit was still in sight, hurrying down it. There was
not a moment to be lost: away went Alice like the wind,
and just heard it say, as it turned the corner, "My ears
and whiskers, how late it's getting!" She turned the
corner after it, and instantly found herself in a long,
low hall, lit up by a row of lamps which hung from the
roof.

There were doors all round the hall, but they
were all locked, and when Alice had been all round it,
and tried them all, she walked sadly down the middle,
wondering how she was ever to get out again.

76

HUMOROUS PROSE
An Afternoon Stroll'

When I go strolling down to the post office to
buy stamps to write to my cousins, my mother says, “Don't
walk on the Court House side.“ That is where the checker
players sit. When I get to the pansy bed, my mother calls,
”Don't walk past the barber shop." That is where the men
take off their collars. When I get to the linden trees,
my mother says, "Don't pass the saloon.” That is where
the door is sawed off at the top and the bottom and the
music box is. So I walk in the middle of the street and
jump the stepping stones.

And when I get back, my mother says, “Oh, oh, your
best ankle strap slippers, they are covered with dust."
Some people sure are hard to please. If the Court House
is on one side of the street, and the barber shop and
saloon are on the other side of the street, and I can't
walk in the middle, I guess my mother wants me to fly to
the places I go just like St. Francis of Assisi. That's
what the Catholics say. But the priest drinks all the
wine at that church and maybe he was just seeing things.

Strolling is walking slow and easy like getting
married is because it gives you time to maybe change your
mind. You stroll when gou are a baby sitting in your
carriage. You stroll w en you are a young lady and have
a beau. Then you stroll when you are an old lady and it
doesn't matter where you are going or when you get back.
When you stroll you get dressed up. Only when I stroll
up on Holton Street, I wear my fighting clothes.

Holton Street is where I have my worse trouble.
That is another part of town. That is where the Camp-
bellites live. They asked me to their old church party
and my mother made me go. And I wore my hat and it was
summer, and Alice Coleman laughed because I had on my
hat. I said to her, I said, "You shouldn't go in a
church without your hat.“ And she said, "You should too,”
and I said, ”You shouldn't," and she said, ”Who said so?”
and I said, “St. Paul said so,” and she said, “He didn't,“
and I said, “He did,” and she said, "He didn't” and I
said, “He did," and she said, “Fooie on St. Paul, and

.Yir inia Cary Hudson, 0 Ye Ji s and Jule s!
(New York: he Macmi lan Company. 1563), pp. 10-53.

 

77

that is when I slapped her. Once for St. Paul, and I
slapped her for the whole state of Christ's church uni-
versal and then I pinched her for myself. That slapping
was righteous indignation, but that pinch was my own and
the devil's idea.

She ran home from the church party screaming and
yelling, but I stayed and ate my ice cream. And Miss
Billie called my mother up. Miss Billie is Alice's
mother. Whoever heard of a mother named Billie? My
mother made me sit in my chair one whole hour and read
St. Paul. She said that was a good day to read all St.
Paul said. So I read about enduring all things zfia not
to behave yourself unseemly. But I bet one thing. I
bet St. Paul didn't know any Campbellites and didn't ever
go strolling up on Holton Street.

I asked Mrs. Scofield if she would please give me
a Persian kitten when her cat had one, and she said there
weren't going to be any kittens, and I said, "Why?" and
she said just because her cat's name was Henry. And if
Mrs. Scofield's cat can't have kittens because it is
named Henry, how can Alice's mother have her when her
name is Billie?

78

PLAY
Excerpt from The Lark*

Joan: Blessed Saint Michael. I am in prison. Come to me.
Find me. I need you now. I told you that I was
afraid of fire, long before I ever knew-~or did I
always know? You want me to live? Why do I call
for help? You must have good reason for not coming
to me. They think I dreamed it all. Maybe I did.
But it's over now

(Warwick enters)

Monseigneur, I have done wrong. And I don't know
how or why I did it. I swore against myself. That.
is a great sin, past all others--(desperately).

I still believe in all that I did, and yet I swore
against it. God can't want that. What can be left
for me?

(Yes) I will wear cast-off brocade and put jewels
in my hair and grow old. I will be happy that few
people remember my warrior days and I will grovel
before those who speak of my past and pray them to
be silent. And when I die, in a big fat bed, I
will be remembered as a crazy girl who rode into
battle for what she said she believed, and ate the
dirt of lies when she was faced with punishment.
That will be the best that I can have--if my little
Charles remembers me at all. If he doesn't there
will be a rison dungeon, and filth and darkness--
(cries out) What good is life either way?

(Speaking to voices) I was only born the day you
first spoke to me. My life only began on the day
you told me what I must do, my sword in hand. You
are silent, dear my God, because you are sad to see
me frightened and craven. And for what? A few
years of unworthy life. I know, I took the good
days from You and refused the bad. I know. Dear
my God forgive me and take me back for what I am.
Call your soldiers, Warwick. I deny my confession.

 

*

Jean Anouilh, "The Lark," in Twenty Best European
Plays on the American Sta e, ed. John Gassner (New York?
fFownPublishers, Inc.. i363), pp. ll6-ll7.

l

"l.)ili .i‘ Tn"

79

You have a funny gentleman's face. But you are
kind. Come now. Soldiers. Englishman. Give
me back my warrior clothes. And when I have put
them on, call back the priests. Please God,
help me now.

Anne:

Peter:

Anne:

Peter:

Anne:

80

PLAY
Excerpt from The Diarygof Anne Frank*

Look, Peter, the sky. What a lovely lovely day!
Aren't the clouds beautiful? You know what I
do when it seems as if I couldn't stand being
cooped up for one more minute? I think myself
on a walk in the park where I used to go with
Pim. Where the jonquils and crocus and the
violets grow down the slopes. You know the
most wonderful part about thinking yourself
out? You can have it any way you like. You
can have roses and violets and Chrysanthemums
all blooming at the same time . . . It's

funny . . . I used to take it all for granted
. . . and now I've gone crazy about everything
to do with nature. Haven't you?

 

I've just gone crazy. I think if something
doesn't happen soon . . . if we don't get out
of here . . . I can't stand much more of it!

I wish you had a religion, Peter.
No, thanks! Not me!

Oh, I don't mean you have to be Orthodox

or believe in heaven and hell and pergatory
and things . . . I just mean some religion

it doesn't matter what. Just to believe in
something! When I think of all that's out
there . . . the trees . . . and flowers .
and seagulls . . . when I think of the dearness
of you, Peter, . . . and the goodness of the
people we know . . . Mr. Kraler, Miep, Dirk,
the vegetable man, all risking their lives
for us every day . . . When I think of these
good things, I'm not afraid any more

I find myself, and God, and I

 

*Frances Goodrich and Albert Hackett,"The Diary

of Anne Frank“ in Best American Plays, l9lB-l958 Supple-
mentary Volume, ed. John Gassner (New York: Crown
Publishers, Inc.. l963), pp. 685-686.

81

Peter: That's fine! But when I begin to think, I get
mad! Look at us, hiding out for two years.
Not able to move! Caught here like
waiting for them to come and get us . . . and
all for what?

Anne: We're not the only pe0ple that've had to suffer.
There've always been people that've had to
sometimes one race . . . sometimes another

and yet
Peter: That doesn't make me feel any better!
Anne: I know it's terrible trying to have any faith

. . . when people are doing such horrible . . .
But, you know what I sometimes think? I think
the world may be going through a phase, the way
I was with Mother. It'll pass, maybe not for
hundreds of years, but some day . . . I still
believe, in Spite of everything, that people
are really good at heart.

Peter: I want to see something now . . . Not a thousand
years from now!

Anne: But, Peter, if you'd only look at it as part of
a great pattern . . . that we're just a little
minute in the life . . . . Listen to us,
going at each other like a couple of stupid
grownups! Look at the sky now. Isn't it lovely?
Some day, when we're outside again, I'm going
to
And so it seems our stay is over. They are waiting for us
now. They've allowed us five minutes to get our things.
We can each take a bag and whatever it will hold of
clothing.
Nothing else. So, dear Diary, that means I must
leave you behind. Good-by for a while.
P.S. Please, please, Miep, or Mr. Kraler, or
anyone else. If you should find this diary, will you please

keep it safe for me, because some day I hope

CHAPTER IV

LESSON PLANS AND METHOD OF EVALUATION
Fundamentals of Poetry*

1. Poetry
Poetry is a patterned form of verbal or written
expression of ideas in concentrated, imaginative, and

rhyme and a specific meter, but not necessarily.

2. Meter

 

Meter is the pattern of stresses and unstressed syl-
lables established in a line of poetry. The stressed (')
syllable is also called the accented or long syllable.

The unstressed C“) syllable is also called the unaccented

or short syllable. In determining the meter, the importance

of the word, the position in the metrical pattern, and

other linguistic factors should be considered. In identi-

fying the meter of a line of verse, the type and the number

of feet are considered.

3. Verse Forms A
The kinds of verse forms based on meter and rhyme are:

(a) rhymed verse, (b) blank verse, and (c) free verse.

 

*William Leahy, Fundamentals of Poetry (Chicago:
Kenneth Publishing Company,ii96§il

82

 

 

 

83

4. Rhymed Verse
Rhymed verse consists of verse with end rhyme and
usually with a regular meter.
HORSES
Theyhead the list
Of bad to bet on,
But I insist

They're worse to get on. .
--Richard Armour

5. Blank Verse

 

Blank verse consists of lines of iambic pentameter
without end rhyme.
from JULIUS CEASAR

Cowards die many times before their deaths;
The valiant never taste of death but once.
Of all the wonders that I yet have heard,
It seems to me most strange that men should fear;
Seeing that death, a necessary end,
Will come when it will come.
--Shakespeare

6. Free Verse

 

Free verse consists of lines that do not have a
regular meter and do not contain rhyme.
SPLINTER
The voice of the last cricket
across the first frost
is one kind of good-by.
It is so thin a Splinter of singing.
7. Rhyme
Rhyme (also Spelled "rime“) is the similarity or

likeness of sound existing between the two words. A true

84

rhyme should consist of identical sounding syllables that
are stressed and the letters preceding the vowel sounds
should be different. Thus (fun and run) are true or per-
fect rhymes because the vowel sounds are identical pre-

ceded by different consonants.

8. Alliteration

 

Alliteration is the repetition of the initial letter
or sound in two or more words on a line of verse.

"How much dew could a dewdrop dr0p if a dewdrop did drop dew?"

9. Onomatopoeia (on o mat o pe a)

OnamatOpoeia is the use of a word to represent or
imitate natural sounds: (buzz, cruch, tinkle, gurgle,
sizzle, hiss).

from THE COMING OF ARTHUR
Clang battleaxe, and clash brand!
Let the king reign.
--Tennyson
lO. Assonance

Assonance is the similarity or repetition of a vowel
sound on two or more words. Assonance is sometimes called
partial or near rhyme. "Lake" and “stake" are rhyme. “Lake"
and "fate" are assonance. "Base" and "face" are rhymes,

but "base" and "fade“ are assonance.

85

ll. Consonance
Consonance is the repetition of consonant sounds
within a line of verse. Consonance is similar to alliter-
ation except that consonance doesn't limit the repeated
sound to the initial letter of a word.
from CROSSING THE BAR
But such a tide as moving seems asleep,
Too full for sound and foam,
from IN MEMORIAM
Oh yet we trust that somehow good
WilT be The Tinal goal of ill
To pangs of nature, sins of wiTl,
Defects of doubt, and taints of blood;
from THE BUGLE SONG
The Splendor falls on castle walls
And snowy summits old in story;
The long light shakes across the lakes,
And the wild cataract leaps in glory.
1g, Refrain
A refrain is the repetition of one or more phrases or

lines at intervals on a poem, usually at the end of a stanza.

The refrain often takes the form of a chorus.

THIS SMOKING HORLD

Tobacco is a dirty week:
I like it.
It satiSfies no normal need:

I lik .

It makes you thin, it makes you lean,

It takes the hair right off your bean,

It's the worst darn stuff I' ve ever seen:
I like it.

 

--G. L. Hemminger

86

l3. Repetition
Repetition is the reiterating of a word or phrase

within a poem.

THE HAMMERS

Noise of hammers once I heard,
Many hammers busy hammers,
Beating, shaping, night and day,
Shaping, beating dust and clay
To a place; saw it reared;

Saw the hammers laid away.

And I listened, and I heard
Hammers beating, night and day
In a palace newly reared,
Beating it to dust and clay:
Other hammers, muffled hammers,
Silent hammers of decay.
--Ralph Hodgson

l4. Figure of Speech

 

A figure is an expression on which the words are used
in a nonliteral sense to present a figure, picture, or

image.

15. Simile

 

A simile is a direct or explicit comparison between
two usually unrelated things indicating a likeness or simi-
larity between some attribute found on both things. A
simile uses like or as to indicate the comparison. In the
expression "John swims like a fish," the grace and natural-
ness with which John swims is compared with the grace and
naturalness with which a fish swims. Literally, it would

be impossible for John to swim like a fish because of his

87

human nature. However, we can imagine the figure or

image of a very skilled and graceful swimmer beneath the

surface.

I.

(”#0379

He is sleeping like a log.

The ball was thrown like a bullet.
Marie eats like a bird.

John swings like a rusty gate.

The dawn comes up like thunder.

from A RED, RED ROSE

O my love's like a red, red rose
That's newly Sprung in June:
0 my love's like a melodie
That's like a melodie
That's sweetly played in tune.
--Robert Burns..

l6. Metaphor

A metaphor is an implied comparison between two

usually unrelated things indicating a likeness or analogy

between attributes found in both things. A metaphor,

unlike the simile, does not use like or gg_to indicate the

comparison.

I.

0! . t» N
0

All the world's a stage.

She was peaches and cream.

Fred's a pig at the table.

The screaming headlines announced the murder.

Life's a short summer, man a flower.

88

FOG

The fog comes
on little cat feet.
It sits looking
over harbor and city
on silent haunches
and then moves on.
--Carl Sandburg

Refrain from MY LOVE AND MY HEART
But my love she is a kitten,

And my heart's a ball of string.
--Henry Leigh

l7. Personification

Personification is the giving of human character-
istics to inanimate objects, ideas, or animals.

l. The glad whistled.

2. Her £5113 cried out.

3. Bright April shakes out her rain-drenched hair.
(Sara Teasdale)

 

4. The screams of cut trees . . . (Crane)

5. The dusky night rides down the sky.
(Henry Fielding)

6. The waves beside them danced.
(Wordsworth)

7. Time, the subtle thief or youth. . . . (Milton)

Death, be not proud, though some have called
Mighty and dreadful, . . . (Donne)

l8. Hyperbole

Hyperbole is an exaggeration for the sake of emphasis

and is not to be taken literally.

 

89

l. Sweat to death
Rivers of blood

As old as time

ab (a) N
O O

. Million times a day

From RED, RED ROSE

Till a'the seas go dry, my dear,
And the rocks melt wi' sun!
And I will love thee still, my dear,
--Robert Burns

from THE MAN WITH THE HOE

Bowed by the weight of centuries he leans

Upon his hoe and gazes on the ground,

The emptiness of ages on his face,

And on his back the burden of the world.
--Edwin Markham

l9. Antithesis
Antithesis is a balancing or contrasting of one
term against another.
Man proposes, God disposes. (Pope)

Fair is foul, and foul is fair.
(ShakeSpeare)

from A PSALM OF LIFE

Life is real! Life is earnest!
And the grave is not its goal;
Dust thou art, to dust returnest,
Was not spoken of the soul.
Not enjoyment, and not sorrow,
Is our destined end or way;
But to act, that each tomorrow
Find us better than today.
Art is long, and Time is fleeting
And our hearts, though stout and brave.
Still, like muffled drums, are beating
' Funeral marches to the grave.
--Longfellow

9D

20. Symbol

 

A symbol is a word or image that signifies something
other than what is literally represented. The cross is a
symbol for Christianity. The donkey and the elephant

are symbols of two American political organizations.

2l. Stanza

A stanza is a division of a poem based on thought or
form. Stanzas based on form are marked by their rhyme
scheme. Stanzas are known by the number of lines they

contain.

91

Fundamentals of the Library*

l. Types of Books

Books in the library are divided into fiction and

nonfiction.

2. Fiction Books (Novels)

The library meaning of fiction book is synonymous
with novel. Fiction books are novels. Because of the
great number of novels, they have been separated from the

other books and placed in their own section of the library.

3. Nonfiction Books (Non-novels)

Nonfiction books are all books except novels. The
difference between fiction and nonfiction is whether the
book is a novel or not. Nonfiction includes all books of
history, mathematics, science, art, biography, poetry,

plays, etc.

4. Card Catalgg

 

The card catalog is an index to all the books in a
library. It consists of a cabinet containing many drawers
that hold 3" x 5" cards arranged alphabetically. Every

book in the library is represented in the card catalog.

 

*Hilliam Leahy, Fundamentals of the Library (Chicago:
Kenneth Publishing Company,—l964).

 

92

5. Kinds of Cards in the Card Catalpg
The kinds of cards used in the card catalog are
guide cards, catalog cards (author, title, subject),

cross reference cards, and analytic cards.

6. Guide Cards

 

Guide cards are thick or heavy cards interspersed at
intervals of two or three inches between catalog cards.
They extend above other cards and indicate by letters or

words the content of the surrounding cards.

7. Catalog_Cards

The basic cards (98%) of the cards in the card
catalog trays are catalog cards. They are the cards
that index and represent all the books in the library.
The three kinds of catalog cards are the author card,

the title card, and the subject card.

8. Author Card

 

An author card has the name of the card. The author
card is the main card or unit card from which the title or
subject is typed at the top to make the other cards. The
author card indicates a book by an author. Books about an

author follow cards for books by an author.

9. Title Card

 

The title card consists of the basic catalog card

(author card) with the title of the book at the top of

 

93

the card. Using title cards is the quickest way to find

a book in the card catalog. Titles that begin with a, an,
or the, will be alphabetized using the second word in the
title.

ID. Subject Card

The subject card consists of the basic catalog card
with the subject of a book at the top of the card. By
using subject cards, one can see at a glance the titles of
the books in the library on a given subject. Subject
headings are typed in capitals or in red to distinguish

them from other cards.

ll. Information on a CatalogCard
The information found on a catalog card consists of
the following:

title

author

call number

name of publisher
date of publisher
number of pages
whether illustrated.

O-QOQOU'G

12. Cross Reference Cards

 

The two kinds of cross reference cards are the see

card and the see also card.

l3. Magazine Indexes
Magazine indexes are indexes to articles that appear

in magazines. The articles are indexed by title, author,

94

and subject. The three general indexes to magazines are:

.Pgole's Indgx
immune;
WWW

Special magazine indexes deal with special interest

 

 

magazines. Some special magazine indexes are:

Agriculture

Art Index

Catholic Periodical Index

Education Index

Engineering Index

New York Times Index
14. Poole's Index

Eggle's Index, named after its editor William F. Poole,
was the first index to periodicals. It is the forerunner
to the ones now being printed and is found only in large

libraries.

15. International Index

The International Index is a series of volumes that
indexes articles from about 170 magazines from 1907 to the
present. The magazines that are indexed are printed here
and abroad and deal with the humanities and the social

studies.

16. Readers Guide

The Readers Guide 59 Perjggjggl Litergturg, a widely
used index, is a series of volumes that indexes articles
on over 100 selected American magazines of reference value.

It aims to provide an index to a well balanced selection of

95

popular U.S. magazines representing all the important
scientific, technical, and subject fields. The Reader's
Gglgg_has author and subject entries arranged in one
alphabetical listing. New additions are published in
pamphlet form semimonthly September to June and monthly
in July and August. These paper covered semimonthly
issues are combined or cumulated into larger volumes at
regular intervals. Eventually, they are combined into
hard cover volumes covering several years. One of the
many values of the ReadgrS Guide is that it shows where

the latest information is on a subject.

17. Explanation of Entry from Reader's Guide
BASKETBALL players

1964 All-American H.S. basketball squad

H.L. Masin. il Sr Schol 84:28 My 8'64
The above entry indicates that an article about basketball
players entitled "1964 All-American H.S. Basketball Squad"
written by H. L. Masin appeared in Senior Scholastic
magazine on May 8, 1964. The article was illustrated and

appeared on page 28. The May issue is in bound volume 84.

18. Usipg_the Reader's Guide
In the front of each volume of the Reader's Guide is
a list of magazines indexed by the Reader's Guide. A library
may not keep all of these and it may not have back issues
of these for any length of time. An explanation of the.

abbreviations used in the index is at the front of each

96

volume. To use the guide, one simply finds the desired
subject or author. After deciding on the article, two
copies are made on a library form of the name of the
magazine, the volume number, and the date of the entry.
One copy is for the librarian and one for the reader.
The reader's copy should include the page number. The
librarian or aid will get the volume and the reader then

finds the page.

19. Abridged Dictionary

 

An abridged dictionary is one that is shorter than
complete language dictionaries. It is sometimes called a
desk dictionary. All the words in a language are not in
an abridged dictionary, and the definitions are fewer and
shorter for each entry. Abridged dictionaries have the
advantage of frequent revision for new words, economy, and
ease of handling. Common abridged dictionaries are:

The American College Dictionary

Funk anduwagnalls flew coiiege Standard

Thorndike-Barnhart High Schooi Dictionary

Hoosier*s*flew Coliegiate Dictionary

Hipster's New‘WOeribicfionary

The Winston'Dictiongyy
20. Unabridged Dictionapy

The unabridged dictionary is one that contains all
the words in a language with many explanations of the
various uses of the words. This complete dictionary pre-
sents a history of each word. The unabridged dictionary is

usually found only in a library because of its cost and its

97

size. The main English unabridged dictionaries are:

ank gng ngnglls,Ngw Standard Qigtigngry
The Oxford E lish Dictionary
1

n
Webstgr's New [nterggtiongl Digtignary

 

 

 

 

 

21. Rpget's Thesaurus

The Thesgurus of English Words and Phrases by P. M.
Roget is a collection of words classified according to
ideas. The words are not in alphabetical order, but to
ideas. The words are in columns of synonyms and antonyms.
No discrimination is made as to the meaning of the synonyms
or antonyms. The main purpose is to assist one in writing

by offering a choice of words.

22. Webster's Dictionary of Synopyms

In Webster's Dictionary of Syngnyms words are pre-
sented in alphabetical order with synonyms and with some
antonyms and analous and contrasting words. The main
feature is that the difference between the meanings of

synonyms is presented.

23. Kinds of Encyclopedias

There are general encyclopedias and special encyclo-
pedias. General encyclopedias deal with all subjects and
give a broad treatment to each topic. Special encyclo-
pedias treat a limited subject area with a particular

viewpoint.

98

24. Vertical File

 

The Vertical File is a file of pamphlet material
that is kept in filing cabinets. The Vertical File is

sometimes called the Information Files. The pamphlets

 

are filed by subject and are kept in folders with subject
headings at the top of the folder. The drawers of the
cabinets are labeled also. The pamphlets are actually all
small material that does not go on the book or magazine

shelves.

 

CHAPTER IV

LESSON PLANS

A suggested order of presentation of ideas and

materials is listed in a particular order of presentation.

As each teacher wishes to set his or her own pace. I have

not included Specific materials to be covered each day.

l.

The topic of oral interpretation should be introduced
thoroughly. This includes explaining the terms as well
as what you expect from the students.

I use the visuals to explain what oral interpretation
is all about. Also. the visuals on imagery are fun

and do put the point across to the students. Addi-
tional pictures may add to the lesson imagery.

I bring in recordings of oral interpretation readings
from our school library. The recording of John Brown's
Qggy_and the recordings of poems are extremely effective.
I start demonstrating how to interpret. A poem of
medium length is best. I usually use one which is
printed on the visual so that the students may follow
along with the reading.

I then review steps one and two. After I feel the
students have a basic understanding, I ask them to do

some reading of poems on visuals from the screen.

99

6.

100

I then explain the Poetry Sheets. This reviews what
poetry is all about and also gives us a common vocabu-
lary. This sheet can be used as a reference source,
also. I ask students to bring in a poem and analyze
it in terms from this sheet. Then they are prepared
to start interpreting. They are shy at first, but
soon forget this and put themselves into the assign-
ment.

Of great importance is the need to introduce the poem
and tell about the author. Therefore, I also include
a sheet which explains the use of the library. This
we go over and then spend time in the library using
the various aids. I then ask the students to apply
the library sheet to their own poem to find background
information and author information.

Then, once more I review in terms of the visuals and
the mechanics of oral interpretation. The students
have the poem, background information, author informa-
tion, and analysis tools collected. So now it is time
to apply the lesson and work on oral interpretation.
The last step is to get in front of the class and
deliver the poem. I have included a critique sheet
which each student uses. These can be used in a
variety of ways. I have tried scoring by numbers and
combining these to find an average. Another method is

to assign a grade measure_for each category. The sheet

10.

11.

101

is both versatile and useful. It holds the interest

of the audience as well as providing audience feedback.
From this point, the teacher may go deeper into other
types of materials to be interpreted. Or he may

wish to tie the lesson up with a test (written or

oral). I prefer to go into other types of materials.
The students can often find a particular passage from

a novel or play which means more to them than a poem.

If this is done, I suggest that the teacher demonstrate
the various types of materials and how to use them. A
review or use of Specific visuals may help the student
to apply the techniques to various materials. Also,
extra class time may be required for preparation and
library research.

I have found that short spot quizzes along the way are
more helpful than a large, all-inclusive test at the

end of the lesson. The frequent tests give me an idea
of how much is sinking in and how much must be reviewed.
This also eliminates the problem of the student who gets
lost at the beginning and never bothers to catch up
again. With an oral assignment of this type, it is
difficult to grade a written examination. Mostly, I
have questioned the student about terms and hypothetical
situations. I still feel the real test is his oral

delivery.

102

EXPLANATION OF CRITIQUE

This critique is included as a sample critique. It
is by no means all-inclusive or without draw-backs. However,
I have found it to be flexible and workable.

The student may assign a letter or number grade to
each area. The total may be logically and mathematically
deduced or he may assign an arbitrary overall grade.

The size of the sheet allows for approximately ten
speakers' grades to fit on each evaluation chart. A
teacher may, of course, alter the size of this.

The sheet seeks to question the audience about the
techniques or oral interpretation. It also serves to help
the interpreter by providing feedback. I have found that
the students seem to agree with me about weak and strong
points. Having studied the mechanics of oral interpretation,
I feel they know enough to evaluate each other. Also, they
seem to be fair judges of their contemporaries. On the
other hand, the speaker feels he must do a good job, as his
friends, as well as the teacher, are grading him. He has a
"captive" but interested audience. As a teacher, I find
there is much less restlessness when the audience is kept

busy.

103

In public speaking we teach students to consider
the audience when they choose tapics for speech-
making. They learn to adapt to their audience's
reaction when they are Speaking. During a period
of criticism, they discover how well, or how
poorly, they have gained the desired audience
response.

Thus, students have a chance to correct their errors
and examine their Speaking skills through audience feed-

back. Oral criticism presents a problem as it can often

<—_.__.

embarrass the speaker. Often a teacher's intentions may
be misinterpreted. Also, there are some things that can
be better expressed between the teacher and student with-
out the rest of the (flass listening. This leads us to
the written criticism.

I have compiled a written critique which I believe
to be workable and useful. I took the suggestions of
William S. Tacey in his article “Class Reaction as a
Basis for Grading." He advises that the sheet be brief
and that it be computable. The sheet is given to each
student. There is a sheet for each Speaker. Thus, a
student may have a sheet for each person who Speaks. He
is allowed time at the end of each interpretation to grade
the sheet. It is then collected and averaged. The speaker
receives his critiques from the rest of the class and is

able to read them carefully. I suggest that the criticizer

 

‘5William S. Tacey,'tlass Reaction as a Basis for
Grading,” The Speech Teacher, XIV, No. 3 (September, 1965),
p. 224. -

 

104

attaches his name to the critique. This enables the
speaker to pursue any criticisms which need clarifying.
Also, it eliminates the problems of criticizing unjustly
because no one will know who wrote the criticism. I
also keep fairly good records of the students who neglect
to criticize properly or at all. They generally will need
a little proding.

This sheet should be fully explained to the students

 

so as to eliminate confusion.

The plan has numerous faults: it takes time;
it requires considerable clerical work in keeping
records; it brings complaints from the students
who have not been assigned the grades they believe
they deserve; and it is far from being a perfect
system. These faults are all admitted. Most of
them, however, are the faults of any system of
grading which an instructor may use.

The chief virtue of this plan of scoring and
grading is that it makes a serious attempt to
measure the reaction of the student Speakers'
audience. Over several years of experience, the
method seems to have proved its worth. Students'
grades are determined upon a much broader base
than when they are written by the instructor with-
out tangible evidence of the reactions by members
of the audience.

The following chapter contains my own evaluation of

this curriculum and my methods of presenting it.

 

”mm, p. 225.

EXAMPLE OF CRITIQUE

Practice:

1. Enough time spent rehearsing
2. Familiar with words
3. Eye contact

Introduction:
1. Clear
2. Background of piece given
3. Author and title given
4. Information about author

Emphasis:
l. Enough
2. In the proper place
3. Effective

Rate:

1. Spacing of words

2. Spacing of thoughts
Phrasing:

1. Appropriate

2. In proper places
Emotion:

1. Does it come through
2. Does it seem real
3. Is it appropriate

Additional Comments:

105

CHAPTER V
EVALUATIONS

This curriculum was taught at Grand Ledge High
School in Grand Ledge, Michigan. It was used in four
different Speech classes of juniors and seniors and
taught only by myself. I used essentially the same
techniques and the same materials each time.

This evaluation of the established criteria in the
introductory chapter is based on my observation as well as
student feedback. I have answered the questions pertaining
to the criteria in the introductory chapter. In order to
do this I have relied on student answers to Specific
questions on the first written test of oral interpretation.
This question was “Do you like Oral Interpretation? Why?“
Also there are remarks taken from an evaluation form done
by the students. This form, distributed at the end of the
year. questioned students about my teaching skill and the
material taught. Their reactions mentioned oral interpre-
tation. I have. therefore, used their observations. The
following incorporates both the student and teacher

reactions.

106

107

The visual mode of instruction does hold the attention
of the Student better than the traditional lecture method.
Students focus their attention on the screen and seem to
enjoy the variety. Some of the remarks from students are
as follows: “I liked oral interpretation because I could
see what you were saying." “It iS like an outline to see
the words on the screen.“ "I like the colors and pictures
the best.“ “Oral interpretation was interesting because
the teacher doesn't just talk.“

Some of my students noticed that the class was
quieter. They were aware, as I was, that I could control
the class better because I was facing them all the time.
”Oral interpretation was fun because you didn't correct
us all of the time.“ “I think I learned a lot about oral
interpretation because I could concentrate without a lot
of interruptions from the kids around me. They seemed
interested in what you (the teacher) were doing.“

The flexibility of the mode was observed in four
different Situations. Each class was entirely different
and demanded special emphasis and explanations in dif-
ferent areas. One class was extremely interested and
willing to learn. Two classes were fairly interested and
were average grade students (8). The fourth class was
totally disinterested in everything about oral interpre-
tation when I presented the topic. Thus, I had to adapt

the mode to different class situations. For example, I

108

spent more time on techniques and specific points in my
average classes. With my interested class I got to
demonstrate more material and allow a more relaxed situa-
tion. With the disinterested class, I had to stress
applicability and bring in unusual examples to focus
attention on the lesson. Below I have included some of

the student comments from before and after the mode was

presented.

Before After

I think oral interpretation It was a challenge and

will be a challenge. taught me a lot.

I don't like to read. It's fun to do songs.

Oral interpretation I have to admit I liked to

doesn't interest me. do the war poems.

Why should I learn it? I think I understand why
people write and what they
mean.

I think it will be fun. It was fun--but hard.

I welcome the chance to I would still like to have

express my feeling. more freedom in expressing
myself.

I like literature and I liked doing plays the best.

think I will like oral A I can't act and this way I

interpretation. didn't have to but I could

put myself in a character.

At the onset many students could not see the value
in learning to interpret. Therefore, as one of the test
questions, I asked if the students could see any future
uses of what they had learned about oral interpretation.

Some of the responses were:

109

”I can read literature and understand it better.“

'I'm not as afraid to express myself.”

'I can read better."

“I read a lot of stuff I don't usually read.“

“I learned to use the library.“

”It will help me in English.“

“No, I didn't like it.“

Many of the quieter students came forward and did a
good interpretation. When I asked one girl about why she
thought this happened, she said, ”I can't express myself
in front of people, but I can express what other people
say.“ Personally, I think the students feel more relaxed
because they are not expressing their own ideas. Thus,
the fear of the peer ridicule is removed.

The following list evaluates the mode in terms of

its major strengths and weaknesses.

Strengths
The curriculum offers a permanent set of visual aids.

They may be used in any order, for any length of time, and
by any number of students. (Frequently when students wanted
to review, I pulled several key visuals and reviewed them
after school, or let them do it at their own pace.) ‘

The students can copy the materials and not just read
them. By having to see them, they are left with a more
permanent impression.

The color and variety add interest to the class.

110

I am able to use the overhead projector and keep an
eye on my class to control discipline and learning.

The materials are lightweight, inexpensive, and easy
to store.

The students enjoy the freedom from a text. They
feel more adult.

The curriculum offers lecture, visuals, library work,
free discussion. oral exercises and written exercises.

(A little bit of everything.)

The curriculum offers the opportunity for students
to express themselves. It brings them in contact with
literature. It also demands reading and research.

The curriculum acquaints the student with poetry and
the library through the use of additional materials.

The students learn by actually participating. This
participation is gradual and accelerated as the lesson
progresses.

The student may find a new talent. Also, this lesson
may be carried over into the Forensic Program. Through
this particular curriculum the student has a variety of
methods to choose from and can gradually learn about oral

interpretation, in terms of the literature he chooses.

Weaknesses
Setting the screen so everyone can see is a problem.
Often students tend to become keyed up and excited
when a lesson is taught with a device which is new to the

classroom.

 

a." 11

Some students carry a dislike for anything oral or
anything having to do with literature.

Stage fright can destroy the best speaker.

The need to repeat is evident. However, the
advanced student may become bored.

Slower students have some problems grasping techniques
and applying them.

If a student is absent it is difficult to explain
the information.

The newness of the material demands that the teacher
go slowly.

There is a lot to learn about a lot of things. By
this I mean there is new vocabulary, resource methods to
be reviewed,.applying written material to oral material,
and conquering stagefright.

However, I feel the advantages of this curriculum
far surpass the disadvantages. The fact that a student is
being exposed to a new and creative experience has merit
in itself.

This method offers a logical, clear method of
teaching. Its value lies in its permanence by virtue of
the visuals and its versatility.

To me the greatest reward has come in teaching this
curriculum. I have watched and heard learning taking
place. To a teacher this is the greatest reward in a

classroom.

 

CHAPTER VI

SUMMARY AND CONCLUSIONS

This thesis has consisted of the presentation of a

visual mode of instruction. The mode has included visual

aids, materials for interpretation, and supplementary

materials.

My opinions and the students' opinions have

been recorded as a method of evaluating the criteria.

1.

Does the visual aid hold the students'
attention better than the traditional
lecture method?

Does the color of the visual aid affect the
interest level?

Does the use of the overhead projector permit
better control of learning and of the class
activity?

Is the mode flexible?

Does the mode permit self-expression by the
students?

Will the mode have value in future years to
the students after they leave this class?
How does this oral activity affect stage
fright?

112

113

An explanation of how these criteria were met is
discussed in terms of student and teacher observations.
However, the evaluation of this mode of instruction is
by no means complete. Many ramifications for further
study are evident. Using the visuals in this thesis. a
study using a controlled and experimental group could:

1. Determine the effect of colored visuals
upon the student,

2. Determine the effects if the visuals were
used in other subject matter areas.

3. Determine the effects if different materials
are added to those included in the thesis,

4. Determine the effect if the order of presenta-
tion is changed,

5. Determine the effect of this mode of instruc-
tion upon a culturally deprived group of
students or an accelerated group of students.

Of course there are many other possible studies. The
previously mentioned ones are just a few of the many

possibilities.

BIBLIOGRAPHY

BIBLIOGRAPHY

Aggertt, Olis J., and Bowen, Elbert R. Communi ative
Reading. New York: The Macmillan Co., 1356.
Alexander, William M., and Halverson, Paul M. Effective

Teachin in Secondar Schools. New York: Rlnefiart
and Company, Inc.. 1557.

Branden, Waldo N- (ed.) S eech Methods and Resources.
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Brown, James W., Lewis. Richard 8.. and Harcleroad. Fred F.
A-V Instruction Materials and Methods. 2d ed.

ew or : c raw H 00 0.,

Buys, William E., et a1. Contest S eakin Manu l.
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Dow, Clyde W., (ed.). An Introduction to Graduate Study
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Finstad, Allen. “A Quick Method for Transparencies."
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Grimes, Wilma. “Paperbacks: The Teacher's Friend: III.
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Hartsell, Horace C., and Veenendaal, W. L. Overhead
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Hibbs, Paul, et al. Speech for Today. New York: McGraw
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Leahy, William. Fundamentals of Poetry. Chicago: Kenneth
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Lee. Charlotte I. Oral Inter retation. 2d. ed. Boston:
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Lowrey, Sara, and Johnson, Gertrude. Interpretative
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Robinson, Karl F., and Lee, Charlotte. 5 eech in Action.
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Schultz. Morton J. The Teacher and Overhead Projection.
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Skinner, E. Ray. “Gertrude Johnson: Pioneer in the Oral

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Tacey, William S. “Class Reaction as a Basis for Grading,“
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