Force refers to the strength or power of the voice, and is divided into forms and degrees. Very particular attention should be given to the subject of force, since thatexpression, which is so very important in elocution, is almost altogether dependent on some one or other modification of this attribute of the voice. It may truly be considered the light and shade of a proper intonation. Force may be applied to sentences or even to single words, for the purpose of energetic expression.
The degrees of force are Gentle, Moderate, and Heavy.
The Gentle Force is used in expressing tenderness, love, secrecy, caution, etc., and the lungs must be kept thoroughly inflated, especially in reverberating sounds.
1.
"Heard you that strain of music light,Borne gently on the breeze of night,—So soft and low as scarce to seemMore than the magic of a dream?Morpheus caught the liquid swell,—Its echo broke his drowsy spell.Hark! now it rises sweetly clear,Prolonged upon the raptured ear;—Sinking now, the quivering noteSeems scarcely on the air to float;It falls—'tis mute,—nor swells again;—Oh! what wert thou, melodious strain?"
Mrs. J. H. Abbot.
2.
Was it the chime of a tiny bell,That came so sweet to my dreaming ear,Like the silvery tones of a fairy's shell,That he winds on the beach so mellow and clear,When the winds and the waves lie together asleep,And the moon and the fairy are watching the deep,She dispensing her silvery light,And he his notes as silvery quite,While the boatman listens and ships his oar,To catch the music that comes from the shore?—Hark! the notes on my ear that play,Are set to words: as they float, they say,"Passing away! passing away!"
Pierpont.
3.Hear the sledges with the bells—silver bells!What a world of merriment their melody foretells!How they tinkle, tinkle, tinkle in the icy air of night!While the stars that oversprinkle all the heavens, seemto twinkleWith a crystalline delight—Keeping time, time, time, in a sort of Runic rhyme,To the tintinnabulation that so musically wellsFrom the bells, bells, bells, bells, bells, bells, bells,—From the jingling and the tinkling of the bells.
E. A. Poe.
The Moderate Force is used in ordinary conversation and unemotional utterances.
1.
She stood before her father's gorgeous tentTo listen for his coming. Her loose hairWas resting on her shoulders like a cloudFloating around a statue, and the wind,Just swaying her light robe, reveal'd a shapePraxiteles might worship. She had clasp'dHer hands upon her bosom, and had raisedHer beautiful dark Jewish eyes to heaven,Till the long lashes lay upon her brow.Her lips were slightly parted, like the cleftOf a pomegranate blossom; and her neck,Just where the cheek was melting to its curve,With the unearthly beauty sometimes there,Was shaded, as if light had fallen off,Its surface was so polish'd. She was stillingHer light, quick breath, to hear; and the white roseScarce moved upon her bosom, as it swell'd,Like nothing but a lovely wave of lightTo meet the arching of her queenly neck.Her countenance was radiant with love,She looked like one to die for it—a beingWhose whole existence was the pouring outOf rich and deep affections.
N. P. Willis.
2.
Oh! sing unto the Lord a new song, for He hath done marvellous things: His right hand and His holy arm hath gotten Him the victory. Make a joyful noise unto the Lord, all the earth: make a loud noise, and rejoice, and sing praise. Sing unto the Lord with the harp; with the harp, and the voice of a psalm.
3.
POR. The quality of mercy is not strain'd;It droppeth, as the gentle rain from heavenUpon the place beneath: it is twice bless'd;It blesseth him that gives, and him that takes;'Tis mightiest in the mightiest; it becomesThe throned monarch better than his crown;His sceptre shows the force of temporal power,The attribute to awe and majesty,Wherein doth sit the dread and fear of kings:But mercy is above this sceptred sway,It is enthroned in the hearts of kings,It is an attribute to God himself;And earthly power doth then show likest God's,When mercy seasons justice.
Shakespeare.
Heavy Force, is used in giving the language of command, exultation, denunciation, defiance, etc., and in using this force the lungs must be inflated to their utmost capacity. In giving the accompanying examples the student must exert every energy of the body and mind, and by earnest practice he will increase the power and flexibility of his voice to a surprising extent, and also acquire a distinctness of tone and earnestness of manner, that will serve him well, as a public speaker.
1.
Banished from Rome! What's banished, but set freeFrom daily contact with the things I loathe?"Tried and convicted traitor!" Who says this?Who'll prove it, at his peril, on my head?
Banished! I thank you for't! It breaks my chain!I held some slack allegiance till this hour—But now, my sword's my own. Smile on, my lords!I scorn to count what feelings, withered hopes,Strong provocations, bitter, burning wrongs,I have within my heart's hot cells shut up,To leave you in your lazy dignities!But here I stand and scoff you! here I flingHatred and full defiance in your face!Your Consul's merciful—for this, all thanks:He dares not touch a hair of Cataline!
"Traitor!" I go—but I return. This—trial?Here I devote your senate! I've had wrongsTo stir a fever in the blood of age,Or make the infant's sinews strong as steel!This day's the birth of sorrow! This hour's workWill breed proscriptions! Look to your hearths, my lords!For there henceforth shall sit, for household gods,Shapes hot from Tartarus!—all shames and crimes!—Wan treachery, with his thirsty dagger drawn;Suspicion, poisoning his brother's cup;Naked rebellion, with the torch and axe,Making his wild sport of your blazing thrones;Till anarchy comes down on you like night,And massacre seals Rome's eternal grave!
George Croly.
2.
But Douglas round him drew his cloak,Folded his arms, and thus he spoke:"My manors, halls, and bowers, shall stillBe open, at my sovereign's will,To each one whom he lists, howe'erUnmeet to be the owner's peer.My castles are my king's alone,From turret to foundation stone;—Thehandof Douglas is his own,And never shall in friendly grasp,The hand of such as Marmion clasp!"Burned Marmion's swarthy cheek like fire,And shook his very frame for ire—And "This to me!" he said—"And 'twere not for thy hoary beard,Such hand as Marmion's had not sparedTo cleave the Douglas' head!And first I tell thee, haughty peer,He who does England's message here,Although the meanest in her state,May well, proud Angus, be thy mate!"
Sir Walter Scott.
3.
What man dare, I dare!Approach thou like the rugged Russian bear,The armed rhinoceros, or the Hyrcan tiger,Take any shape but that, and my firm nervesShall never tremble: or, be alive again,And dare me to the desert with thy sword!Hence, horrible shadow! Unreal mockery, hence!
Shakespeare.
These are known as the Radical, Median, Vanishing, Compound, and Thorough stress.
This is used in expressing lively description, haste, fear, command, etc., and consists of an abrupt and forcible utterance, usually more or less explosive, and falls on the first part of a sound or upon the opening of a vowel, and its use contributes much to distinct pronounciation. It is not common to give a strong, full and clear radical stress, yet this abrupt function is highly important in elocution, and when properly used in public reading or on the stage "will startle even stupor into attention." It is this tone that prompts children to obedience, and makes animals submissive to their masters.
1.
Out with you!—and he went out.
2.
There's a dance of leaves in that aspen bower,There's a titter of winds in that beechen tree,There's a smile on the fruit, and a smile on the flower,And a laugh from the brook that runs to the sea!
Bryant.
3.
But hark! that heavy sound breaks in once more,As if the clouds its echo would repeat;And nearer, clearer, deadlier than before!Arm! arm! it is! it is! the cannon's opening roar!
Ah! then and there was hurrying to and fro,And gathering tears and tremblings of distress,And cheeks all pale, which but an hour agoBlush'd at the praise of their own loveliness;And there were sudden partings, such as pressThe life from out young hearts, and choking sighsWhich ne'er might be repeated! Who could guessIf ever more should meet those mutual eyes,Since upon night so sweet such awful morn could rise?
Byron.
The Median Stress is used in the expression of grandeur, sublimity, reverence, etc., and smoothness and dignity are its characteristics, for it gives emphasis without abruptness or violence. In using this stress, there is a gradual increase and swell in the middle of a sound, and a subsequent gradual decrease—thus giving a greater intensity of voice and dignity of expression than Radical Stress.
1.
Roll on, thou dark and deep blue ocean,roll.
Byron.
2.
Wepraisethee, O God, we acknowledgetheeto be theLord.
3.
Father! Thy handHath reared these venerable columns; ThouDidst weave this verdant roof; Thou didst look downUpon the naked earth; and, forthwith, roseAll these fair ranks of trees. They in Thy sunBudded, and shook their green leaves in Thy breeze,And shot towards heaven. The century-living crow,Whose birth was in their tops, grew old and diedAmong their branches, till, at last, they stood,As now they stand, massy, and tall, and dark,—Fit shrine for humble worshipper to holdCommunion with his Maker!
Bryant.
4.
How are the mighty fallen! Saul and Jonathan were lovely and pleasant in their lives; and in their death they were not divided; they were swifter than eagles, they were stronger than lions. Ye daughters of Israel, weep over Saul, who clothed you in scarlet, with other delights; who put on ornaments of gold upon your apparel! How are the mighty fallen in the midst of battle! O Jonathan! thou wast slain in thine high places! How are the mighty fallen, and the weapons of war perished!
The Vanishing Stress occurs as its name implies at the end or closing of a sound or vowel, and is used in expressing disgust, complaint, fretfulness, ardour, surprise, etc. The sound is guttural, and sometimes terminates in sobbing or hic-cough. It has less dignity and grace than the gradual swell of the Median Stress.
1.
Do you hear the rain, Mr. Caudle? I say, do you hear it? But I don't care; I'll go to mother's to-morrow; I will; and what's more I'll walk every step of the way; and you know that will give me my death. Don't call me a foolish woman; 'tis you that's the foolish man. You know I can't wear clogs; and, with no umbrella, the wet's sure to give me a cold: it always does: but what do you care for that? Nothing at all. I may be laid up for what you care, as I dare say I shall; and a pretty doctor's bill there'll be. I hope there will. It will teach you to lend your umbrellas again. I shouldn't wonder if I caught my death: yes, and that's what you lent the umbrella for.
Douglas Jerrold.
2.
CAS. Brutus, bay not me!I'll not endure it. You forget yourself,To hedge me in: I am a soldier, I,Older in practice, abler than yourselfTo make conditions.
BRU. Go to! you are not, Cassius.
CAS. I am.
BRU. I say you are not!
CAS. Urge me no more: I shall forget myself:Have mind upon your health; tempt me no farther!
BRU. You say you are a better soldier:Let it appear so; make your vaunting true,And it shall please me well. For mine own part,I shall be glad to learn of noble men.
CAS. You wrong me every way, you wrong me, Brutus.I said, an elder soldier, not a better.Did I say better?
BRU. If you did, I care not!
CAS. When Caesar lived, he durst not thus have moved me!
BRU. Peace, peace! you durst not so have tempted him?
CAS. I durst not?
BRU. No.
CAS. What! durst not tempt him?
BRU. For your life, you durst not!
CAS. Do not presume too much upon my love;I may do that I shall be sorry for.
Shakespeare.
Compound Stress is the natural mode of expressing surprise, and also— though not so frequently—of sarcasm, contempt, mockery, etc. In using this stress the voice, with more or less explosive force, touches strongly and distinctly on both the opening and closing points of a sound or vowel, and passes slightly and almost imperceptibly over the middle part.
1.
Gone to be married! Gone to swear a peace!False blood to false blood joined! Gone to be friends!Shall Lewis have Blanche, and Blanche these provinces?It is not so; thou hast misspoke, misheard,—Be well advised, tell o'er thy tale again:It can not be;—thou dost but say 'tis so.
Shakespeare.
2.
JULIA. Why! do you think I'll work?
DUKE. I think 'twill happen, wife.
JULIA. What, rub and scrub your noble palace clean?
DUKE. Those taper fingers will do it daintily.
JULIA. And dress your victuals (if there be any)? O, I shall go mad.
Tobin.
Thorough Stress is used in expressing command, denunciation, bravado, braggadocio, etc. This stress has a degree of force a little stronger than the compound stress, and it is produced by a continuation of the full volume of the voice throughout the whole extent of the sentence. When the time is short the tone resembles that of uncouth rustic coarseness.
1.
These abominable principles, and this more abominable avowal of them, demand the most decisive indignation.
2.
Now strike the golden lyre again;A louder yet, and yet a louder strain':Break his bands of sleep asunder,And rouse him, like a rattling peal of thunder'.Hark! hark! the horrid soundHas raised up his head,As awaked from the dead;And amazed he stares around.Revenge! revenge.
Dryden.
The progress of pitch through the interval of a half tone. It is called also the Chromatic melody, because it expresses pity, grief, remorse, etc. It may colour a single word, or be continued through an entire passage or selection.
1.The New Year comes to-night, mamma, "I lay me down to sleep,I pray the Lord"—tell poor papa—"my soul to keep,If I"—how cold it seems, how dark, kiss me, I cannot see,—The New Year comes to-night, mamma, the old year dies with me.
The Semitone is very delicate, and must be produced by the nature of the emotion. An excess, when the mood or language does not warrant it, turns pathos into burlesque, and the scale may very easily be turned from the sublime to the ridiculous. Strength, flexibility, and melody of voice are of little worth if the judgment and taste are defective.
Is a sameness of the voice, indicating solemnity, power, reverence, and dread. It is a near approach to one continuous tone of voice, but must not be confounded with monotony. Much of the reading we hear is monotonous in the extreme, while the judicious use of the monotone would sufficiently vary it, to render it attractive. Monotone is of great importance in reading the Bible, the beautiful words of the Church Service, and in prayer, and the haste with which these solemn words are often slurred over, is much to be deplored. Monotone is usually accompanied by slow time, and it is, in fact, a low Orotund.
1.
The heavens declare the glory of God, and the firmament showeth His handy work. Day unto day uttereth speech, and night unto night showeth knowledge. There is no speech nor language, where their voice is not heard.
Bible.
2.
These, as they change, Almighty Father! theseAre but the varied God. The rolling yearIs full of Thee.—And oft Thy voice in dreadful thunder speaks;And oft at dawn, deep noon, or falling eve,By brooks and groves, in hollow-whispering gales.In Winter, awful Thou! with clouds and stormsAround Thee thrown, tempest o'er tempest rolled—Majestic darkness! On the whirlwind's wing,Riding sublime, Thou bidd'st the world adore,And humblest Nature, with Thy northern blast.
Thomson.
3.
Now o'er the one-half worldNature seems dead; and wicked dreams abuseThe curtain'd sleep; now witchcraft celebratesPale Hecate's off'rings; and wither'd murder,Alarum'd by his sentinel, the wolf,Whose howl's his watch,—thus with his stealthy pace,With Tarquin's ravishing strides, towards his designMoves like a ghost.—Thou sure and firm-set earth!Hear not my, steps, which way they walk; for fearThe very stones prate of my whereabout,And take the present horror for the timeWhich now suits with it.
Shakespeare.
The varieties of movement in utterance are expressed by Time, which is the measure of the duration of the sounds heard in speech, and it is divided into three general divisions; viz.—Moderate, Quick and Slow time, these being sub-divided by the reader, according to the predominate feeling which the subject seems to require.
Time and Stress, properly combined and marked, possesses two essential elementary conditions of agreeable discourse, upon which other excellences may be engrafted. If either be feebly marked, other beauties will not redeem it. A well-marked stress, and a graceful extension of time, are essential to agreeable speech, and give brilliancy and smoothness to it.
1. Moderate is the rate used in narrative or conversational style.
1.
O bright, beautiful, health-inspiring, heart-gladdening water! Every where around us dwelleth thy meek presence—twin-angel sister of all that is good and precious here; in the wild forest, on the grassy plain, slumbering in the bosom of the lonely mountain, sailing with viewless wings through the humid air, floating over us in curtains of more than regal splendour—home of the healing angel, when his wings bend to the woes of this fallen world.
Elihu Burritt.
2.
But thou, O Hope! with eyes so fair!What was thy delighted measure?Still it whispered promised pleasure,And bade the lovely scenes at distance hail.Still would her touch the strain prolong;And, from the rocks, the woods, the vale,She called on Echo still through all her song;And, where her sweetest theme she chose,A soft, responsive voice, was heard at every close;And Hope enchanted smiled, and waved her golden hair.
Collins.
3.
Tell him, for years I never nursed a thoughtThat was not his; that on his wandering way,Daily and nightly, poured a mourner's prayers.Tell him ev'n now that I would rather shareHis lowliest lot,—walk by his side, an outcast,—Work for him, beg with him,—live upon the lightOf one kind smile from him, than wear the crownThe Bourbon lost.
Sir E. Bulwer Lytton.
Quick Time is used in haste, joy, humour, also in anger, and in exciting scenes of any kind.
1.
Look up! look up, Pauline! for I can bearThine eyes! the stain is blotted from my name,I have redeemed mine honour. I can callOn France to sanction thy divine forgiveness.Oh, joy! oh rapture! by the midnight watchfiresThus have I seen thee! thus foretold this hour!And 'midst the roar of battle, thus have heardThe beating of thy heart against my own!
Sir E. Bulwer Lytton.
2.
Lord Marmion turned,—well was his need!—And dashed the rowels in his steed,Like arrow through the archway sprung;The ponderous gate behind him rung:To pass there was such scanty room,The bars, descending, razed his plume.
The steed along the drawbridge flies,Just as it trembled on the rise;Not lighter does the swallow skimAlong the smooth lake's level brim;And when Lord Marmion reached his band,He halts, and turns with clenched hand,And shout of loud defiance pours,And shook his gauntlet at the towers.
Sir Walter Scott.
3.
They bound me on, that menial throng,Upon his back with many a thong;Then loosed him with a sudden lash—Away!—away!—and on we dash!Torrents less rapid and less rash.
Away!—away!—my breath was gone,I saw not where he hurried on:'Twas scarcely yet the break of day,And on he foamed—away!—away!The last of human sounds which rose,As I was darted from my foes,Was the wild shout of savage laughter,Which on the wind came roaring afterA moment from that rabble rout:
Byron.
Slow Time is used in all subjects of a serious, deliberate, and dignified character, in solemnity, and grandeur, reverential awe, earnest prayer, denunciation, and in all the deeper emotions of the soul.
1.
Is this a dagger which I see before me,The handle toward my hand? Come, let me clutch thee:—I have thee not!—and yet I see thee still!Art thou not, fatal vision, sensibleTo feeling, as to sight? or art thou butA dagger of the mind—a false creation,Proceeding from a heat-oppressed brain?I see thee yet, in form as palpableAs this which now I draw!Thou marshll'st me the way that I was going!And such an instrument I was to use.Mine eyes are made the fools o' the other senses,Or else worth all the rest. I see thee still!And on thy blade and dudgeon, gouts of blood!
Shakespeare.
2.
Alon.(c.) For the last time, I have beheld the shadowed ocean close upon the light. For the last time, through my cleft dungeon's roof, I now behold the quivering lustre of the stars. For the last time, O Sun! (and soon the hour) I shall behold thy rising, and thy level beams melting the pale mists of morn to glittering dew-drops. Then comes my death, and in the morning of my day, I fall, which—No, Alonzo, date not the life which thou hast run by the mean reck'ning of the hours and days, which thou hast breathed: a life spent worthily should be measured by a nobler line; by deeds, not years. Then would'st thou murmur not, but bless the Providence, which in so short a span, made thee the instrument of wide and spreading blessings, to the helpless and oppressed! Though sinking in decrepit age, he prematurely falls, whose memory records no benefit conferred by him on man. They only have lived long, who have lived virtuously.
Sheridan.
3
O thou that rollest above, round as the shield of my fathers! whence are thy beams, O sun! thy everlasting light? Thou comest forth in thy awful beauty: the stars hide themselves in the sky; the moon, cold and pale, sinks in the western wave. But thou thyself movest alone: who can be a companion of thy course? The oaks of the mountains fall; the mountains themselves decay with years; the ocean shrinks and grows again; the moon herself is lost in the heavens; but thou art forever the same, rejoicing in the brightness of thy course. When the world is dark with tempests, when thunders roll and lightnings fly, thou lookest in thy beauty from the clouds, and laughest at the storm. But to Ossian thou lookest in vain; for he beholds thy beams no more; whether thy yellow hair floats on the eastern clouds or thou tremblest at the gates of the west. But thou art, perhaps, like me,—for a season; thy years will have an end. Thou wilt sleep in thy clouds, careless of the voice of the morning.
Ossian.
Pitch is the degree of elevation or depression of sound. On the proper pitching of the voice depends much of the ease of the speaker, and upon the modulation of the voice depends that variety which is so pleasing and so necessary to relieve the ear, but no definite rules can be given for the regulation of the pitch,—the nature of the sentiment and discriminating taste must determine the proper key note of delivery. He who shouts at the top of his voice is almost sure to break it, and there is no sublimity in shouting, while he who mutters below the proper key note soon wearies himself, becomes inaudible, and oppresses his hearers. Pitch is distinguished as Middle, High, and Low.
The Middle Pitch is used in conversational language, and is the note that predominates in good reading and speaking.
1A free, wild spirit unto thee is given,Bright minstrel of the blue celestial dome!For thou wilt wander to yon upper heaven,And bathe thy plumage in the sunbeam's home;And, soaring upward, from thy dizzy height,On free and fearless wing, be lost to human sight.
Welby.
2Eternal blessings crown my earliest friend,And round his dwelling guardian saints attend!Blest be that spot, where cheerful guests retireTo pause from toil, and trim their evening fire:Blest that abode, where want and pain repair,And every stranger finds a ready chair:Blest be those feasts with simple plenty crowned,Where all the ruddy family aroundLaugh at the jests or pranks that never fail,Or sigh with pity at some mournful tale;Or press the bashful stranger to his food,And learn the luxury of doing good.
Goldsmith.
High Pitch indicates command, joy, grief, astonishment, etc. To obtain a good control of the voice in a high pitch, practice frequently and energetically with the greatest force and in the highest key you can command. Do not forget to drop the jaw, so as to keep the mouth and throat well open, and be sure to thoroughly inflate the lungs at every sentence, and if the force requires it even on words. Do not allow the voice to break into an impure tone of any kind, but stop at once, rest for a short time and then begin again. The following examples are excellent for increasing the compass and flexibility of the voice, and the pupil must practice them frequently and with sustained force.
1."The game's afoot,Follow your spirit, and upon this chargeCry 'God for Harry, England and Saint George!'"
Shakespeare.
2.
Ring! Ring!! Ring!!!
3.
MELNOTTE. Look you our bond is over. Proud conquerors that we are, we have won the victory over a simple girl—compromised her honour—embittered her life—blasted in their very blossoms, all the flowers of her youth. This is your triumph,—it is my shame! Enjoy that triumph, but not in my sight. Iwasher betrayer—Iam, her protector! Cross but her path— one word of scorn, one look of insult—nay, but one quiver of that mocking lip, and I will teach thee that bitter word thou hast graven eternally in this heart—Repentance!
BEAUSEANT. His Highness is most grandiloquent.
MELNOTTE. Highness me no more! Beware! Remorse has made me a new being.Away with you! There is danger in me. Away!
Sir E. Bulwer Lytton.
4.Up, comrades, up!—in Rokeby's halls,Ne'er be it said our courage falls!
Sir Walter Scott.
5.
To arms! To arms!! a thousand voices cried.
6.The combatdeepens!On yebrave!Who rush togloryor thegrave.
Campbell.
7.
Charcoal! Charcoal! Charcoal!
8.
Hurrah! Hurrah!! Hurrah!!!
Low Pitch is used to express grave, grand, solemn, and reverential feelings, and is very effective in reading.
To obtain a good control of the voice in Low Pitch, first practice the examples given under the High Pitch, until you are fatigued, then after resting the lungs and vocal organs, practice the lowest and deepest tone you can command, giving, however, a full clear and resonant sound.
1.
Seems, Madam! Nay, it is; I know not 'seems,''Tis not alone my inky cloak, good mother,Nor customary suits of solemn black,Nor windy suspiration of forced breath;No, nor the fruitful river in the eye,Nor the dejected 'haviour of the visage,Together with all forms, moods, shapes of grief,That can denote me truly: these indeed, seem,For they are actions that a man might play;But I have that within that passes show;These but the trappings and the suits of woe.
Shakespeare.
2.
Then the earth shook and trembled: the foundations of Heaven moved and shook, because he was wroth. There went up a smoke out of his nostrils; and fire out his mouth devoured; coals were kindled by it. He bowed the heavens, also, and came down; and darkness was under his feet; and he rode upon a cherub, and did fly; and he was seen upon the wings of the wind; and he made darkness pavilions round about him, dark waters, and thick clouds of the skies. The Lord thundered from heaven, and the Most High uttered his voice; and he sent out arrows and scattered them; lightning and discomfited them. And the channels of the sea appeared; the foundations of the world were discovered at the rebuking of the Lord, at the blast of the breath of his nostrils.
3.
I am thy father's spirit;Doomed for a certain term to walk the night,And for the day confined to fast in fires,Till the foul crimes done in my days of nature,Are burned and purged away.
Shakespeare.
Unchanged through time's all-devastating flight;Thou only God! There is no God beside!Being above all beings! Three-in-One!Whom none can comprehend, and none explore;Who fill'st existence with Thyself alone;Embracing all—supporting—ruling o'er—Being whom we call God—and know no more!
Derzhaver.
Transition signifies a sudden change in the force, quality, movement, or pitch of the voice, as from a subdued to a very high tone, from a slow to a rapid rate of utterance, and also the reverse of these movements. It also refers to changes in the style of delivery, as from a persuasive to the declamatory, etc., and to the expression of passion or emotion, as from grief to joy, from fear to courage, etc.
Transition thus forms a very important part in vocal culture, and public speakers often ask the question: "How can I modulate my voice?" for they are well aware that nothing relieves the ear more agreeably than a well regulated transition, for who has not been bored by listening to a speaker whose voice throughout has been pitched in one monotonous tone, either too high or too low? A change of delivery is also necessary when a new train of thought is introduced, for pitch, tone, quality, time, and force should all be changed in conformity with the changes of sentiment. No definite rules can be laid down in relation to the proper management of the voice in transition which would be intelligible without the living teacher to exemplify them. Constant practice must be persevered in to enable the pupil to make the necessary transitions with skill and ease.
[This selection demands the entire range of the speaking voice, in pitch— all qualities, and varied force.]
Hark! the alarm bell, 'mid the wintry storm!Hear the loud shout! the rattling engines swarm.Hear that distracted mother's cry to saveHer darling infant from a threatened grave!That babe who lies in sleep's light pinions bound,And dreams of heaven, while hell is raging round!Forth springs the Fireman—stay! nor tempt thy fate!—He hears not—heeds not,—nay, it is too late!See how the timbers crash beneath his feet!O, which way now is left for his retreat?The roaring flames already bar his way,Like ravenous demons raging for their prey!He laughs at danger,—pauses not for rest,Till the sweet charge is folded to his breast.Now, quick, brave youth, retrace your path;—but lo!A fiery gulf yawns fearfully below!One desperate leap!—lost! lost!—the flames ariseAnd paint their triumph on the o'erarching skies!Not lost! again his tottering form appears!The applauding shouts of rapturous friends he hears!The big drops from his manly forehead roll,And deep emotions thrill his generous soul.But struggling nature now reluctant yields;Down drops the arm the infant's face that shields,To bear the precious burthen all too weak;When, hark!—the mother's agonising shriek!Once more he's roused,—his eye no longer swims,And tenfold strength reanimates his limbs;He nerves his faltering frame for one last bound,—"Your child!" he cries, and sinks upon the ground!
And his reward you ask;—reward he spurns;For him the father's generous bosom burns,—For him on high the widow's prayer shall go,—For him the orphan's pearly tear-drop flow.His boon,—the richest e'er to mortals given,—Approving conscience, and the smile of Heaven!
"A pause is often more eloquent than words." The common pauses necessary to be made, according to the rules of punctuation, are too well known to require any particular notice here, they serve principally for grammatical distinctions, but in public reading or speaking other and somewhat different pauses are required.
The length of the pause in reading must be regulated by the mood and expression and consequently on the movement of the voice, as fast or slow; slow movements being accompanied by long pauses, and livelier movements by shorter ones, the pause often occurring where no points are found—the sense and sentiments of the passage being the best guides.
"How did Garrick speak the soliloquy, last night?"—"Oh! against all rule, my lord, most ungrammatically! Betwixt the substantive and the adjective, which should agree together in number, case, and gender, he made a breach thus——stopping, as if the point wanted settling; and betwixt the nominative case, which, your lordship knows, should govern the verb, he suspended his voice in the epilogue a dozen times, three seconds and three- fifths by a stop-watch, my lord, each time." "Admirable grammarian!—But, in suspending his voice,—was the sense suspended?—Did no expression of attitude or countenance fill up the chasm?—Was the eye silent? Did you narrowly look?"—"I looked only at the stopwatch, my lord!"—"Excellent observer!"
Sterne.
A Rhetorical Pause—is one not dependent on the grammatical construction of a sentence, but is a pause made to enable the speaker to direct attention to some particular word or phrase, and is made by suspending the voice either directly before or after the utterance of the important phrase. In humorous speaking the pause is generally before the phrase, as it awakens curiosity and excites expectation; while in serious sentiments it occurs after and carries the mind back to what has already been said.
A pause of greater or less duration is always required whenever an interruption occurs in the progress of a thought, or the uniform construction of a sentence, as in the case of the dash, the exclamation, the parenthesis, etc. In these cases the mind is supposed to be arrested by the sudden change of sentiment or passion. It is necessary in most cases to make a short pause just before the parenthesis, which read more rapidly, and in a more subdued tone; when the parenthesis is concluded, resume your former pitch and tone of voice.
(1.) After the subject of a sentence: Wine | is a mocker.
(2.) After the subject-phrase: The fame of Milton | will live forever.
(3.) When the subject is inverted: The best of books | is the Bible.
(4.) Before the prepositional phrase: The boat is sailing | across the river.
(5.) After every emphatic word:William| is an honest boy. Williamis| an honest boy. William is anhonest| boy.
(6.) Whenever an ellipsis occurs: This | friend, that | brother, Friends and brothers all.
(7.) In order to arrest the attention: The cry was | peace, peace!
Emphasis generally may be divided into two classes—Emphasis of sense and Emphasis of feeling. Emphasis relates to the mode of giving expression; properly defined it includes whatever modulation of the voice or expedient the speaker may use, to render what he says significant or expressive of the meaning he desires to convey, for we may, by this means, give very different meanings to our sentences, according to the application of emphasis. For instance, take the sentence—"Thou art a man." When delivered in a cool and deliberate manner, it is a very plain sentence, conveying no emotion, nor emphasis, nor interrogation. But when one of the words is emphasized, the sentence will be very different from what it was in the first instance; and very different, again, when another word is made emphatic; and so, again, whenever the emphasis is changed, the meaning is also changed: as, "THOU art a man." That isthouin opposition to another, or becausethouhast proved thyself to be one. "Thou art a MAN." That is agentleman. "Thou ART a man." That is, in opposition to "thouhast beena man," or "thouwilt beone." "Thou art A man." That is, in opposition totheman, or aparticularman.
Then, again, the sentence may be pronounced in a verylowtone of voice, and with force or without force. It may be raised uniting a good deal of stress, or without stress; and then, again, it may be heard with the greatest force, or with moderate force. Each of these latter modes of intonation will make a very different impression on an audience, according to the employment of the other elements of expression, with that of the general pitch..
In addition to these, the sentence may be pronounced in a verylow and softtone, implying kindness of feeling. Then, in awhisper, intimating secrecy or mystery. It may be heard on the SEMITONE, high or low, to communicate different degrees of pathos. And then, again, the TREMOR nay be heard on one or all of the words, to give greater intensity to other elements of expression which may be employed. As, also, a GUTTURAL emphasis may be applied to express anger, scorn, or loathing. These are some of the different meanings which may be given to this sentence of four words by the voice. A good reader, or speaker, then, ought not only to be able to sound every wordcorrectly; he ought to know, always, the EXACTmeaningof what he reads, andfeelthe sentiment he utters, and also to know HOW to give theintendedmeaning and emotion, when heknowsthem.
Bypracticeupon the different exercises herein, the student will not fail to recognize the emotion from the sentiment,and will be able to give it.
Emphasis of feeling is suggested and governed entirely by emotion, and is not strictly necessary to the sense, but is in the highest degree expressive of sentiment.
1.On! ON! you noble English.
2.Slaves! TRAITORS! have ye flown?
3. Toarms! to ARMS! ye braves?
4 Beassured, be ASSURED, that this declaration will stand.
5.Rise, RISE, ye wild tempests, and cover his flight!
6. Toarms! to ARMS! to ARMS! they cry.
7.Hurrahfor bright water! HURRAH! HURRAH!
8. Imethim, FACED him, SCORNED him.
9.Horse! HORSE! and CHASE!
10. The charge isutterly, TOTALLY, MEANLY, false.
11. Ay, cluster there! Cling to your master,judges, ROMANS, SLAVES.
12. I defy the honourablegentleman; I defy the GOVERNMENT; I defy the WHOLE PHALANX.
13. He has allowed us to meet you here, and in the name of the presentgeneration, in the name of your COUNTRY, in the name of LIBERTY, to thank you.
14 They shoutedFrance! SPAIN! ALBION! VICTORY!
Climax, or cumulative emphasis, consists of a series of particulars or emphatic words or sentences, in which each successive particular, word, or sentence rises in force and importance to the last.
The inflections of the voice, consist of those peculiar slides which it takes in pronouncing syllables, words, or sentences.
There are two of these slides, the upward and the downward. The upward is called the rising inflection, and the downward the falling inflection, and when these are combined it is known as the circumflex.
The rising inflection is used in cases of doubt and uncertainty, or when the sense is incomplete or dependent on something following. The falling inflection is used when the sense is finished and completed, or is independent of anything that follows.
Indirect questions usually require the falling inflection.
Falling inflections give power and emphasis to words. Rising inflections give beauty and variety. Rising inflections may also be emphatic, but their effect is not so great as that of falling inflections.
1.
Iam`.
Life isshort`.
Eternity islong`.
If theyreturn`.
Forgive us oursins`.
Departthou`.
2.
What' though the field be lost`?All` is not` lost`: the unconquerable will`,And stud`y of revenge`, immor`tal hate`,And cour`age nev`er to submit` or yield`.
3.
And be thou instruc`ted, oh, Jeru`salem', lest my soul depart` from thee; lest I make thee' des`olate, a land not' inhab`ited.
If the members of a concluding series are not emphatic, they all take the rising inflection except thelast, which takes the falling inflection; but if emphatic, they all take the falling inflection except thelastbutone, which takes the rising inflection.
The dew is dried up', the star is shot', the flight is past', the man forgot`.
He tried each art', reproved each dull delay', allured to brighter worlds' and led the way`.
They will celebrate it with thanksgiving', with festivity' with bonfires', with illuminations`.
He was so young', so intelligent', so generous', so brave so everything', that we are apt to like in a young man`.
My doctrine shall drop as the rain', my speech shall distill as the dew', as the small rain upon the tender herb' and as the showers upon the grass`.
The Circumflex is a union of the two inflections, and is of two kinds; viz., the Rising and the Falling Circumflex. The rising circumflex begins with the falling, and ends with the rising inflection; the falling circumflex begins with the rising, and ends with the falling inflection.
Positive assertions of irony, raillery, etc., have the falling circumflex, and all negative assertions of doubled meaning will have the rising. Doubt, pity, contrast, grief, supposition, comparison, irony, implication, sneering, raillery, scorn, reproach, and contempt, are all expressed by the use of the wave of the circumflex. Be sure and get the right feeling and thought, and you will find no difficulty in expressing them properly, if you have mastered the voice. Both these circumflex inflections may be exemplified in the word "so," in a speech of the clown, in Shakespeare's "As You Like It:"
"I knew when seven justices could not take up a quarrel; but when the parties were met themselves, one of them thought but of an If; as if you said so, then I said sô. Oh, hô! did you say so*? So they shook hands, and were sworn friends."
The Queen of Denmark, in reproving her son, Hamlet, on account of his conduct towards his step-father, whom she married shortly after the murder of the king, her husband, says to him, "Hamlet, you have your fathermuchoffended." To which he replies, with a circumflex onyou, "Madam, yô*u have my father much offended."Hemeant hisownfather;shehisstep-father. He wouldalsointimate that she wasaccessoryto his father'smurder; and his peculiar reply was likedaggersin hersoul.
In the following reply of Death to Satan, there is a frequent occurrence of circumflexes, mingled withcontempt: "And reckon'sthou thyselfwithspiritsof heaven, hell-doomed, and breath'stdefiance here, andscornwhereIreign king*?—and, to enrage theemore, th*yking andlord!" The voice is circumflexed onheaven,hell-doomed,king, andthy, nearly an octave.
Personation is the representation, by a single reader or speaker, of the words, manners, and actions of one or several persons. The change of voice in personation in public reading is of great importance, but is generally overlooked, or but little practiced.
The student must practice assiduously upon such pieces as require Personation in connection with narrative and descriptive sentences, and he must use the Time, Pitch, Force, and Gesture, which are appropriate to the expression of the required thought. For example, if it be the words uttered by a dying child, the Pitch will be low, Pure Voice, slightly Tremor, Time slow, with a pause between the narrative and the quoted words of the child, these last being given very softly and hesitatingly.
1.
"Tell father, when he comes from work, I said goodnight to him; and mother —now-I'll-go-to-sleep."
The last words very soft, and hesitating utterance.
Before this example, is another in the same selection, not quite so marked, which we give from the third verse. She gets her answer from the child; softly fall the words from him—
"Mother, the angels do so smile, and beckon little Jim! I have no pain, dear mother, now,—but oh, I am so dry! Just moisten poor Jim's lips again —and, mother, don't you cry." With gentle, trembling haste, she held the liquid to his lips,——
That which is quoted is supposed to be uttered by the dying child, and can not be given effectively without the changes in voice, etc., referred to above.
If, however, the climax of the narrative is a battle scene, and the Personation represents an officer giving a command, then a most marked change must be made in the voice between the narrative and the personation, which demands Full Force, Quick Time, High Pitch, and Orotund Quality, and the narrative portion will commence with Moderate Pitch and Time (increasing), and Medium Force.
1.
"Forward, the Light Brigade!'Charge for the guns!' he said,Into the valley of deathRode the Six Hundred."
2.
(desc.) And when Peter saw it, he answered unto the people: (per.) "Ye men of Israel, why marvel ye at this? or why look ye so earnestly on us, as though by our own power or holiness, we had made this man to walk?" etc.
To read the Bible acceptably in public, requires the application of every principle in elocution; for nowhere is Expression so richly rewarded, as in the pronunciation of the sacred text. The Descriptive and Personation should be so distinctly marked, that the attention will be at once attracted to the different styles, and the meaning understood.
The study of Expression is one of the most important parts of elocution, as it is the application of all the principles that form the science of utterance. It is the ART of elocution. Expression then should be the chief characteristic of all public reading and speaking. The student must forget self, and throw himself entirely into the spirit of what he reads, for the art of feeling is the true art which leads to a just expression of the features:
"To this one standard make you just appeal,Here lies the golden secret, learn tofeel."
The voice under the influence of feeling, gives the beautiful colouring, and breathes life and reality to the mental picture. Every turn in the current of feeling should be carefully observed and fully expressed. Not only the varied changes of the voice, however, but the indications by all the features of the countenance, contribute a share to give a good expression, and by far the greatest is derived from the eyes. The management of the eyes is, therefore, the most important of all—
"A single look more marks the eternal woe,Than all the windings of the lengthened, oh!Up to the face the quick sensation flies,And darts its meaning from the speaking eyes;Love, transport, madness, anger, scorn, despair,And all the passions, all the soul is there."
The eye of the orator, and the expressive movements of the muscles of his face, oftentellmore than his words, his body or his hands, and when the eye is lighted up and glowing with meaning and intelligence, and frequently and properly directed to the person or persons addressed, it tends greatly to rivet the attention, and deepen the interest of the hearer, as well as to heighten the effect, and enforce the importance of the sentiments delivered. To the eyes belong the effusion of tears, and to give way to this proof of feeling should not be called a mark of weakness, but rather a proof of sensibility, which is the test of sincerity.
Next to the eyes, the mouth is the most expressive part of the countenance. "The Mouth," says Cresallius, "is the vestibule of the soul, the door of eloquence, and the place in which the thoughts hold their highest debates." It is the seat of grace and sweetness; smiles and good temper play around it; composure calms it; and discretion keeps the door of its lips. Every bad habit defaces the soft beauty of the mouth, and leaves indelible traces of its injury, they should, therefore, be carefully avoided. The motion of the lips should be moderate, to moisten them by thrusting the tongue between them is very disagreeable, and biting the lips is equally unbecoming. We should speak with the mouth, more than with the lips.
Unless the pupil is very careful, he will find some difficulty in keeping the mouth sufficiently wide open, he will gradually close the mouth until the teeth are brought nearly together, before the sound is finished, the inevitable consequence of which is a smothered, imperfect and lifeless utterance of the syllable or word. A good opening of the mouth is absolutely indispensable in giving the voice the full effect of round, smooth and agreeable tone.
* * * * *
As more or less action must necessarily accompany the words of every speaker who delivers his sentiments in earnest, as they ought to be to move and persuade, it is of the utmost importance to him that that action be appropriate and natural—never forced and awkward, but easy and graceful, except where the nature of the subject requires it to be bold and vehement. If argument were necessary to enforce the importance of cultivation in gesticulation, one sufficiently cogent might be drawn from the graceful skill and power displayed in this art by the best actors on the stage. No truth is clearer than that their excellence in this is due to their own industry.
But, in applying art to the aid of Oratory, and especially in copying the gesture of those who excel in it, great caution is to be observed. No true orator can be formed after any model. He that copies or borrows from any one, should be careful in the first place, not to copy his peculiarities or defects: and whatever is copied, should be so completely brought under command, by long practice, as to appear perfectly natural. Art should never be allowed to put any restraint upon nature; but should be so completely refined and subdued as to appear to be the work of nature herself; for whenever art is allowed to supersede nature, it is immediately detected, shows affectation, and is sure to disgust, rather than please and impress, the hearer.
In general terms, force and grace may be considered the leading qualities of good action. In pleasing emotions the eye of the speaker follows the gesture, but in negative expressions the head is averted. The stroke of the hand terminates on the emphatic word. Be careful not to "saw the air" with the hands, but to move them in graceful curved lines. They should move steadily, and rest on the emphatic word, returning to the side after the emotion is expressed that called them into action.
The following positions and directions are as good as any, that can be expressed in a small compass, and they are given here for practice. One caution must be noted, which is, that excess of action is nearly as detrimental in oratory as no action. It becomes the speaker, therefore, in this, as well as in everything else, that pertains to elocution and oratory, toavoid extremes.
1. Supine; open hand, fingers relaxed, palm upward; used in appeal, entreaty, in expressing light, joyous emotions, etc.
2. Prone; open hand, palm downward; used in negative expressions, etc.
3. Vertical; open hand, palm outward; for repelling, warding off, etc.
4. Clenched; hand tightly closed; used in defiance, courage, threatening, etc.
5 Pointing; prone hand, loosely closed, with index finger extended; used in pointing out, designating, etc.
1. Front; the hand descending below the hip, extending horizontally, or ascending to a level or above the head, at right angles with the speaker's body.
2. Oblique; at an angle of forty-five degrees from the speaker's body.
3. Extended; direct from the speaker's side.
4. Backward; reversely corresponding to the oblique.
R. H. S. Right Hand Supine.
R. H. P. Right Hand Prone.
R. H. V. Right Hand Vertical.
B. H. S. Both Hands Supine.
B. H. P. Both Hands Prone.
B. H. V. Both Hands Vertical.
D. f. Descending Front.
H. f. Horizontal Front.
A. f. Ascending Front.
D. o. Descending Oblique.
H. o. Horizontal Oblique.
A. o. Ascending Oblique.
D. e. Descending Extended.
H. e. Horizontal Extended.
A. e. Ascending Extended.
D. b. Descending Backward.
H. b. Horizontal Backward.
A. b. Ascending Backward.
The dotted words indicate where the hand is to be raised in preparation.
The gesture is made upon the words in capitals.
The hand drops upon the italicized word or syllable following the word in capitals. If italicized words precede the word in capitals, it indicates that the hand is to follow the line of gesture.
The following examples have appeared in several works on Elocution—"TheNew York Speaker," "Reading and Elocution," etc.
D.f.This sentiment I* will* maintain* | with the last breath of LIFE.
H.f.I* appeal* | to YOU, sir, for your decision.
A.f.I* appeal* | to the great Searcher of HEARTS for the truth of what Iutter.
D. o.Of* all* mistakes* | NONE are sofatal as those which we incur through prejudice.
H. o.Truth*, honour*, | JUS tice were hismotives.
A. o.Fix* your* eye* | on the prize of a truly NO ble am-bition.
D. e.AWAY* | with an idea so absurd!
H. e.The* breeze* of* morning* | wafted IN cense on theair.
A. e.In dreams thro'* camp* and* court* he* bore* | the trophies of a CON queror.
D. b.AWAY* | with an idea so abhorrent to humanity!
H. b.Search* the* records* of* the* remotest* an TI quity for a _par_allel to this.
A. b.Then* rang* their proud HURRAH!
D. f.Put* DOWN | the unworthy feeling!
H. f.Re* STRAIN the unhallowed propensity.
D. o.Let every one who* would* merit* the* Christian* name* | re PRESS | such a feeling.
H. o.I* charge* you* as* men* and* as* Christians* | to lay a re STRAINT on all such dispositions!
A. o.Ye* gods* | with HOLD yourvengeance!
D. e.The* hand* of* affection* | shallsmooth theTURF for your lastpillow!
H. e.The* cloud* of* adver* | sity threw its gloomover all hisPROS pects.
A. e.So* darkly* glooms* yon* thunder* cloud* that* swathes* | as with a purple SHROUD Benledi's distanthill.
H. f.Arise!* meet* | and re PEL yourfoe!
A. f.For* BID it, AlmightyGod!
H. o.He generously extended* the* arm* of* power* | to ward OFF theblow.
A. o.May* Heaven* a VERT the calamity!
H. e.Out* of* my* SIGHT, | thou serpent!
H. b.Thou* tempting* fiend,* a VAUNT!
D. f.All personal feeling he* de* POS ited on thealtar of his country's good.
H. f.Listen,* I* im PLORE you, to the voice ofreason!
A. f.HAIL, universalLord!
D. o.Every* personal* advantage* | he sur REN dered to the commongood.
H. o.WELCOME!* once more to your earlyhome!
A. o.HAIL! holyLight!
D. e.I* utterly* re NOUNCE | all the supposed advantages of such a station.
H. e.They* yet* slept* | in the wide a BYSS of possibility.
A. e.Joy,* joy* | for EVER.
D. f.Lie* LIGHT ly on him,earth—his step was light on thee.
H. f.Now* all* the* blessings* of* a* glad* father* LIGHT onthee!
A. f.Blessed* be* Thy* NAME, O Lord MostHigh.
D. o.We* are* in* Thy* sight* | but as thewormsof the DUST!
H. o.May* the* grace* of* God* |abide with you forEVER.