lar case occurs in Shylock's fiendish half-shriek, on the word hip, in his exclamation referring to Antonio, "If I do catch him once upon the hip, I will feed fat the ancient grudge I bear him!" The sprawling, expanded utterance, which the style of rant prepos terously endeavors to indulge, on this word, causes the voice, as it were, to fall in pieces in the attempt, and to betray the falsity of the style which it affects. But it is in the chaste yet generous effect of the judicious prolongation and indulgence of "mutable quantities," that the skill of the elocutionist, and the power and truth of expression, are peculiarly felt. It is in these, that the watchful analyst can trace, at once, the full soul and the swelling heart, which would impel the speaker to prolong indefinitely the tones of passion, to give "ample scope and verge enough to overflowing feeling, — but, not less surely, the manly force of judgment, and the disciplined good taste, which forbid any display of mere sound, in the utterance of earnest emotion. A long-continued practice on the elements of the language, on syllables, words, and phrases, will be well bestowed in the endeavor to acquire a perfect command of "quantity." 66 The following exercises need close attention to the firmness, clearness, decision, and purity of the opening" radical," and the delicacy and distinctness of the "vanish." The latter should be occasionally practised in that long-protracted form, which, as Dr. Rush has expressively said, "knits sound to silence."1 The elements may be practised in "effusive," "6 " and " expulsive, explosive utterance, on all the chief intervals of "slide" and "wave," commencing with the "second," and extending to the octave, both upward and downward, - and on the various degrees of "force" and modes of 66 stress," together with the distinctions of " pitch," and the "expression" of the chief characteristic emotions; as awe, reverence, fear, horror, despair, anger, grief, joy, love, &c. 1. Examples of Long "Quantities," and "Indefinite" sylla 1 The same thought is expressed, with inimitable beauty, in the lines of Sheridan Knowles: "I hear a sound so fine, there's nothing lives recl-ai-m def-y foreg-o res-ou-nd rej-oi-ce am-u-se beh-o-ld unh-ou-sed empl-oy den-u-de disd-ai-n den-y 2.-Short "Quantities," and "Immutable" Syllables.1 Variable "Quantities," and "Mutable" Syllables. Wh-a-t B-e-t A-dd B-i-g O-dd C-u-b 1 "Immutable" syllables do not admit of " effusive" utterance. They are best adapted to the display of "explosive" style, although they occur also in "expulsive" and "declamatory expression." g-ai-t n-o-t d-e-bt b-a-d d-i-g g-o-d d-u-b f-a-te g-o-t p-e-t m-a-d f-i-g n-o-d t-u-b b-a-sely d-o-tted b-e-tter s-a-dden g-i-ggle b-o-dy b-u-bble w-a-keful c-o-ttage p-e-ttish m-a-ddest d-i-gger s-o-dden d-o-uble EXAMPLES OF "QUANTITY," IN PHRASES AND SENTENCES. 1.- Long "Quantities,” and “Indefinite" Syllables. [The object in view in these exercises, is, to enable the student to trace distinctly the wide scope of "expression " afforded by "indefinite" syllables, for the full prolongation of all elements which imbody the sounds of passion and emotion. "Time," in elocution, is the opportunity of effect, which inattention and rapidity throw away. Young readers, in particular, need much practice in this department; as they incline to haste and slight "expression." The mode of performing these exercises, should be regulated with a view, at first, to the fullest effect of expressive sound. Afterwards, the style may be reduced in effect, as the consecutive reading of whole pieces may require. In vocal training, as in athletic exercise, the object of practice is, sometimes, to execute a given feat, with a view to its effect on habit, to gain the power of putting forth, on requisite occasions, a maximum of effort, in an easy, graceful, and appropriate manner.] Courage: "Oh! I have lost you all! Parents, and home, and friends." - “Come one, come all!—this rock shall fly Awe: :-"My heart is awed within me, when I think Sublimity:-"Hail! holy Light! offspring of Heaven first born." Disdain:- "None left but by submission; and that word Disdain forbids me." Shouting:—“ To arms! to arms! to arms!' they cry." Regret: :—“Ah! why will kings forget that they are men, And men that they are brethren ?" Delight:-"The balmy breath of incense-breathing morn "O my soul's joy!" Fear:-"While the deep thunder, peal on peal, afar""Io! they come, they come!" Triumph: Misery:-"Wailing and woe, and grief, and fear, and pain." Calling:- "Awake! arise! or be forever fallen!" Denial: -"The truth of his whole statement I do most peremptorily deny." Challenge:-" Pale, trembling coward! there I throw my gage." "Draw, villain, draw, and defend thy life!" Exultation:-" Poison, and Plague, and yelling Rage are filed!" Adoration: :—“Aır, earth, and sea, resound His praise abroad!" Melancholy:-"Old Ocean's gray and melancholy waste". Grandeur:- "Roll on, thou deep and dark blue ocean, roll! Ten thousand fleets sweep over thee in vain!" Anger: Pathos:- "And dar'st thou, then, To beard the lion in his den, The Douglas in his hall? And hop'st thou hence unscathed to go?- "Chieftains forego! The man who strikes makes me his foe." Earnest Entreaty :— Despair: Madness: Pity: "Hear me! oh! hear me !" "Farewell fear! Farewell remorse!" "Evil! be thou my good!" "Sickness, and want, and feeble, trembling Commiseration:· Imprecation: "Poor fool and knave, I have one part in my heart That's sorry yet for thee!" "Strike her young bones, You taking airs, with lameness! You nimble lightnings, dart your blinding flames Into her scornful eyes!" Accusation: :-"Nathan said unto. David, Thou art the Joy: Fear :Grief: Sorrow: Delight: man!'' "All the treasons, for these eighteen years, Complotted and concocted in this land, Fetch from false Mowbray their chief spring and head." “Joy, joy! shout, shout aloud for joy! "With noiseless foot she treads the marble floor." "The Niobe of nations! there she stands Childless and crownless, in her voiceless woe!" "Oh! pardon me, thou bleeding piece of earth, That I am meek and gentle with these butchers!" "Ah! lady, now full well I know What 't is to be an orphan boy!" "Of pure now purer air Meets his approach," "Of bloom ethereal the light-footed Dews." 2.- Short "Quantities," and "Immutable" Syllables. [The object in view, in the following examples, is to exhibit the "explosive" mode of utterance, and to impart the power of concentrating and condensing expression into the shortest sounds. Instantaneous execution is, in these examples, the point to be aimed at ; the voice to be charged with the utmost impetuous force of utterance, on every expressive syllable; and any approach to prolongation to be carefully avoided, as tending to weaken the proper effect. The "explosion," in many of these instances, should resemble the startling abruptness of a sudden and violent blow.] |