lent efforts of the voice must often be associated with the lowest modulation. 168. Some readers have a disagreeable habit of changing from a low to a high pitch in a harsh, abrupt manner, producing a start ling effect where the language and sentiment do not warrant it. We have heard a good sermon spoiled in the delivery by this fault. Do not commence a sentence vehemently, and then let the voice taper down to an almost inaudible pitch, causing it to mount at the next sentence, with a see-saw mode of utterance, now up and now down; the modulation" running mountains high, then ducking low again." 169. To acquire the power of changing at pleasure the key in which you speak, accustom yourself to pitch your voice in different keys, from the lowest to the highest notes on which you can articulate distinctly. Many of these would be neither proper nor agreeable in reading; but the exercise will give you such a command of voice as is scarcely to be acquired by any other method. See the Exercises on Pitch, page 69. Reading aloud and recitation," says Dr. Combe, are more useful and invigorating muscular exercises than is generally imagined." 66 170. By monotone we understand a continuation of one tone through many words. This, though generally to be guarded against, is sometimes appropriate and effective in sublime and solemn passages: as, in the following, from Job: "In thoughts from the visions of the night, when deep sleep falleth upon men, fear came upon me and trembling, which made all my bones to shake." 171. A parenthesis, as it is a sentence within a sentence, must be kept as clear as possible from the principal sentence, by a lower tone of voice, and generally by a quicker rate of utterance. The power of lowering the voice, and commencing a sentence or clause of a sentence in a different pitch from what preceded, is a qualification indispensable to a good reader; and the parenthesis affords the best opportunity for acquiring it, because the rule is constant. 172. Let the reader imagine that in pronouncing the principal sentence he is to make himself heard at a distance; when he reaches the parenthesis, let him utter it as to some one near at hand, and at its conclusion again address himself as to a distant hearer. The power of changing the key being thus acquired, it may be employed with propriety not only at the Parenthesis, but wherever there is a manifest transition of thought. See Exercises, page 72. Remember that a Parenthesis is sometimes indicated by other marks than these (). See ¶ 3 QUESTIONS.-164. What is meant by the pitch of the voice? By the key on which it is pitched? 165. What of modulation? To what emotion is a low key suited? A high' 166. A middle? 167. Do you understand by a high pitch a loud tone? 168. What disagreeable fault in the management of pitch is mentioned? 169. What mode of practice is suggested? 170. What is monotone? 171, 172. How ought a parenthesis to be deliv ered? LESSON XII. INFLECTION. 173. ANY one who attends to the tones of his voice will perceive that when he utters the word "Come!" in a coaxing, entreating sense, the tone is quite different from that which he gives to the word "Go!" uttered sternly and as a command. These different tones are called inflections of the voice; and, in the foregoing examples, the word "Come " has the rising inflection, and the word "Go" the falling. These inflections naturally occur, with more or less force, in reading as well as in our common conversation. 174. In counting one, two, three, &c., up to twelve, we give the rising inflection to every number till we come to the last, and to that we give the falling. In the question, “Did you say one?” uttered in an ordinary tone of inquiry, the word one takes the Rising inflection. In the questions "When did I say one?" "Who said one?" uttered without some modifying emotion, the last word takes the Falling inflection. 175. Besides the Rising and Falling inflection, there is the Compound inflection, or Circumflex, in which the two inflections are united in utterance; a falling or assertive tone being followed by a rising or querulous EI one, or the reverse taking place. This compound tone is that of sarcasm and insinuation, as in uttering such passages as the following, ironically: "Brave man - to strike a woman! courageous chief!" It is also the tone of strong antithesis;EI as, They tell us to be moderate, but they revel in profusion." 66 176. We sometimes adopt the mark of the acute accent (') to denote a word or passage that should have the Rising inflection; the grave accent (), to denote the Falling inflection; the circumflex (^), to denote the Compound Inflection, or Circumflex, when the falling follows the rising; and this mark () to denote the reverse. 177. A few rules of limited application in regard to inflecting the voice may be given, but it should be remembered that these rules are no longer rules when peculiar emotions and passions are to be expressed. Rules being thus exceptional, the safest guide to a proper inflecting of the voice is to thoroughly learn the meaning of what you read, and enter into its spirit. We must in all cases be guided by the intent of the utterance, rather than by its rhetorical form. 178. Direct questions, which can be answered by yes or no, generally take the rising inflection; as, "Will you ride'?” “Can he read'?" The reason is, that when we pronounce a sentence in doubt or ignorance, and with the desire of assurance or information, we naturally terminate the utterance with a Rising inflection, more or less strong in proportion to the degree of our eagerness to be assured or informed. By the tone of the voice we appeal to the hearer for a satisfactory reply. The answers to such questions generally take the Falling inflection; as, "Can he read?" "He can." 179. Indirect questions, and those which cannot be answered by yes or no, generally take the Falling inflection; and the reason is, that the main fact of the sentence being undoubted and taken for granted, there is an implied reference to this, which dictates a fall, unless there is a querulous emotion expressed, which demands a rise, Thus the questions, "Where is he going? What does he mean?' imply, "Understanding that he is going, I ask, where? Believing that he means something, I ask, what?" But if there is an emotion of sudden consternation or complaint to be expressed, both the foregoing questions may take the Rising inflection. The answers to indirect questions usually take the same inflection with them; as, "Where is he going?" "I don't know`." EI 180. When the conjunctions or and but connect antithetical EI words or clauses, the Rising inflection is generally used before, and the Falling after them; as, "Will you go' or stay?" "He will not ride, but walk`." 181. The termination of a sentence making complete sense requires the Falling inflection; as, “Live well`.” “Take heed to thy thoughts." "Keep thy heart with all diligence." 182. The pause of suspension, in incomplete sentences, usually takes the Rising inflection; as, "The young, the healthy and the prosperous', should not presume on their advantages`." 183. The imperative mood is generally pronounced with a Falling inflection; but the speaker's mood is the regulating principle. A fall conveys command, and a rise expresses entreaty. Thus the Fall ing inflection is associated with what is complete, disconnected, posi tive or imperious; the Rising, with what is doubtful, incomplete, connected or dependent. QUESTIONS. 173. Illustrate the meaning of inflection. What is the derivation of the word? (See Explanatory Index.) 174. In counting twelve, on which number do you place the Falling inflection? 175. What is understood by the Compound Inflection, or Circumflex? 176. What are the marks of inflection? 177. Are rules for inflection always reliable? 178. Why is the Rising inflection generally given to questions answerable by yes or no? 179. Why do indirect questions generally take the Falling? 180. What is the rule of this paragraph? 181. Of this? 182. Of this? 183. Of this? LESSON XIII. EMPHASIS, FORCE, PAUSE, ETC. 184. EMPHASIS, in articulation, is the mode of drawing attention to one or more words in a sentence, by pronouncing them with a greater volume E and duration of sound, and in a higher or lower note than the adjoining words. Thus, in the sentence "It is the part of justice never to do violence, and the part of modesty never to commit offence," the principal stress is laid upon certain substantives, and the rest of the sentence is spoken with an inferior degree of exertion. 185. By a proper disposition of emphasis, we impart animation and interest to spoken language. Emphasis is, as it were, the invis ible gesticulation of the mind through the voice; and all rules of inflection and accent give way to it. In order to emphasize properly, the reader should acquaint himself with the construction and meaning of every sentence which he recites. It is for want of this pre vious study, more, perhaps, than from any other cause, that we so often hear persons read with a stupid monotony. In familiar discourse we rarely fail to place the emphasis properly; and this is because we fully understand what we are saying. 186. A misplaced emphasis may often lead a hearer to give a wrong meaning to your words. Thus, the following short sentence," Do you intend to go to Newport this summer?" admits of three different meanings, according to the place of the emphasis. As a general rule, the emphasis is placed upon the word or words which, more than any other, may express the idea to be conveyed. 187. It is one of the offices of emphasis to express the opposition between the several parts of a sentence, where the ideas are contrasted or compared; as in the following sentences: "When our vices leave us, we fancy that we leave them." "A countenance more in sorrow than in anger." "A custom more honored in the breach than in the observance." Let it be remembered that it is only by a prudent reserve in the use of emphasis that we can give to those words that ought to be emphatic their true weight: "For none emphatic can that reader call Who lays an equal emphasis on all." Sometimes, however, emphasis may fall upon several words in succession; as in the Italicized words of the following passage: "He said, he would not ransom Mortimer; Forbade my tongue to speak of Mortimer; 188. Emphasis is either of the thought (logical) or of feeling (passionate). It may be expressed by any variation of the voice that shall indicate distinction; and consequently by means of pitch, inflection, pause, force, &c.* "To endeavor to distinguish and measure out, 66 In *Of the diffuse and complicated rules for inflection, emphasis, stress, etc., in some of our school-books, how little use is ever made by either teacher or pupil ! After we have accomplished a pupil in the really practical part of elocution, in articulation, pronunciation, the means of vocal culture and development, &c., how unprofitable is the attempt to oppress him with these rules! They are, at the best, often purely speculative, and may require an amount of study that might much better be given to subjects a knowledge of which would render him independent of all such rules, by causing him to enter fully into the spirit and intent of what he reads. all our experience, we have never known the distinguished orator or actor who confessed himself indebted to them. On the contrary, we have heard many a one express his utter incredulity as to their scientific certainty, and the benefit to be derived from any artificial system whatever of teaching elocution. The expression of emotion, sentiment and feeling, in delivery, is not to be taught by rule. The cry of a drowning man will be in the right key, and have the right inflection, though he may never have heard of "radical," "median," or "compound" stress, or the "intensive slide." We do not, in these remarks, undervalue the importance of good oral instruction. But we believe that a majority of the best teachers of the present day regard as an impertinence the attempt to make certain questionable Rules for inflection, &c., paramount authority in the school-room. |