_rising intervals are the rule in intonation, and falling intervals the
exception_, and it is this infrequency of use which gives to the falling
movement its value as a mode of emphasis. But where the emphasis is that
of doubt, uncertainty, surprise, or interrogation, the suspensiveness of
these emotional states is appropriately expressed by rising intonations;
and hence, too, in all sentences in which the interrogative element is
strongly present, the rising interval should characterize every syllable
in it, and the sentences be uttered with interrogative intonations
throughout. If in any such sentence, a particular word is to be
especially emphasized, this is effected by giving to the word a low
radical pitch and retaining the rising interval indicative of
interrogation.
=The width of the interval= depends, as is natural, upon the intensity
of the thought or emotion of which the concrete is intended to be an
expression. For example, suppose the statement, "=You= _are the
culprit_," be answered by the surprised and indignant interrogation,
"=I?=" The emphatic words here used may be appropriately uttered with
intervals of a tone, a third, a fifth, or an octave, according to the
emphasis supposed necessary.
=The Semitone=, as has been said before, is an interval sometimes heard
in language of distress, complaint, grief, sorrow, tenderness,
compassion, pity. Occasionally it is introduced in diatonic melody as an
appropriate emphatic mode of uttering a single word; as, for example,
"_Other friends have flown before; on the morrow_ HE _will leave me_."
At times diction may assume what may be called a _pathetic drift_, and
for the suitable interpretation of this drift semitonic intervals may be
used, and the mode of progression cease for a space to be diatonic and
become semitonic, or _chromatic_, as it is called.
=The Wave= is one of the most impressive of the elements of expression;
but its proper use demands great flexibility in the vocal organs and a
high degree of taste in the reader. Like all other unusual modes, its
employment lends color and contrast to utterance; that is, it makes it
more effective for the purposes of emphasis or distinction. The wave, as
has been described, is a concrete with an upward and a downward movement
united; but its last constituent is that which most affects the ear and
leaves upon it the stronger impression, and hence, especially if it be
given with a wide interval, _its dominant characteristic will be that of
the second movement_; for example, if the second movement be upward, the
wave may express interrogation mingled with surprise or scorn; if the
second movement be downward, the wave may express astonishment mingled
with indignation. The intervals which are given to the wave depend upon
the diction to which it is applied. To express great surprise or
vehement indignation it may sweep through a fifth or a whole octave. In
these extreme modes _the wave frequently is given a wider interval in
the second movement than in the first_, and its effect intensified by
the appropriate use of stress, and (for the expression of such emotions
as scorn, contempt, irony, ridicule, and so on) of the impure qualities
of voice. When used with intervals of the second, the characteristics of
direct and inverted forms lose some of their distinctness; but in this
degree the wave is effectively used to put into relief occasional words,
or, with median stress and long quantities, to give to the otherwise
short and tripping character of the second a dignified and impressive
effect suited to the rendering of all serious and important diction that
is not impassioned.
=The Wave of the Semitone= is generally employed when time, or syllabic
quantity, is needed as an element in the expression of the language of
complaint or pathos. The effect is much the same whether it be direct or
indirect.
=The Tremor= may be used to express grief, supplication, tenderness, in
which the interval through which it ranges may be wide, or, for a more
plaintive effect, be limited to the semitone. With constituent intervals
other than the semitone (that is, of a tone or otherwise), and ranging
through an aggregate interval of less or greater width, it may be used
to express laughter; as, for example, in the utterance of the syllables
"_ha_, _ha_, _ha_, _ha_, _ha_," which, when rapidly effected, resembles
one syllable uttered with discrete intervals. Combined with stress,
aspiration, and guttural vibration, in suitable modifications, this
laughing tone may be made to express scorn, derision, exultation,
triumph, and so on.
II. FORCE. Force must be considered under two aspects: first, as to the
_degree of its intensity_ in the utterance of syllables, words, phrases,
and sentences; and second, as to the _form of its application in the
utterance of the concrete_. When the term is used without qualification,
the first of these considerations is intended; when the second is
intended, force is generally spoken of as =stress=.
_Force must be contradistinguished from loudness._ In mere loudness the
vocal organs are comparatively relaxed--the intensity of sound being
produced by the violent discharge of a great volume of air from the
lungs. In forceful utterance the vocal organs are compressed and tense,
and though the volume of air effused be small, the resulting
sound-vibrations are strong, and distinct, and of penetrating power.
In respect of intensity, force may be manifested in infinite variation,
but the degrees usually spoken of are _very light_, _light_,
_moderate_, _strong_, and _very strong_. As with all other modes, these
degrees will vary from word to word, and from sentence to sentence; and
great judgment and taste must be exercised in employing them, so that
they appropriately represent the intensity of the thought and feeling of
which they are to be the expression.
=Moderate Force= is the natural expression of tranquillity, and,
therefore, of all unimpassioned diction. As the diction becomes pervaded
by the more positive emotions, the tones of the voice naturally become
stronger. Certainty requires strong force with pure quality. So all the
passions, the lighter as well as the more vehement, require the degree
of force to be heightened: cheerfulness, joy, ecstacy, requiring force
moderately strong; and anger, hate, terror, revenge, being suitably
rendered by very strong force. Again, doubt, uncertainty, secrecy, as
well as the gentler and more plaintive emotions, are most suitably
represented by the lighter shades of force.
As the voice assumes the intenser modes of force, the vocal organs
become more and more compressed, and utterance is more and more labored;
the breath forced out cannot all be vocalized; the voice becomes less
and less pure, and manifests itself in the aspirate and guttural
qualities. _Hence, strongly suppressed utterance in impure vocality,
rather than mere loudness in pure vocality, is the appropriate
expression for all the intenser passions._
III. STRESS. Stress is force considered with respect of the form of its
application to the concrete. Since the equable concrete is the natural
colorless expression of unimpassioned thought, force applied to any part
of it changes its character, and gives it a more or less significant
emphasis. The three most usual forms of stress are the _radical_, the
_median_, and the _final_; these may be effected in any of the degrees
of force. _Compound stress_ and _thorough stress_ admit of but little
variation.
=Radical Stress=, to some extent an essential, but not an expressive
element in the equable concrete, is, in a somewhat stronger form, an
element in all utterance that is intended to be vivid and energetic,
emphasizing these characteristics by its own incisive clearness. The
more animated and energetic the diction the clearer and more determined
should be the opening of the concrete, that is, the more distinct and
forcible should be its radical stress; while in graver language the
radical stress is less pronounced. In its emphatic degree it ought at no
time to be allowed to become a current mode, imparting its peculiar
incisive character to every syllable; though, for especial emphasis, it
may be appropriately used in this way in the utterance of the several
words of a phrase.
=Final Stress= differs from radical stress principally in this, that
while it equally indicates energy and positiveness, it does so as in
accordance with predetermination and reflection. _Radical stress
denotes, as it were, an involuntary state of energy; final stress, the
energy or fixedness of resolve._ Hence, final stress is appropriate to
the expression of resolution, of obstinacy, of earnest conviction, of
passionate resolve. It emphasizes the characteristics of wide intervals,
giving to rising intonations a more decidedly interrogatory character,
and making falling intonations more vehemently and passionately
positive.
=Median Stress=, as it can be effectively applied to none but indefinite
or mutable syllables, is compatible only with such a rate of utterance
as will permit of these receiving long quantities. It may receive any
degree of force, from that gentle swell which indicates a tranquil flow
of emotion, to that firm and swelling energy which is the appropriate
expression of the language of elevated feeling. With the wider intervals
it should be used only for occasional emphasis; but in its lighter forms
it may prevail as a drift of dignified expression. Median stress, being
always necessarily associated with long quantity in syllables, is not an
appropriate mode in the language of colloquy, or in vivacious discourse
of any kind. It is, however, the fit interpreter of that fervid and
lofty imagination which clothes itself in forms of grace and grandeur;
and hence, with intonations and waves of the lesser intervals, with
medium or low sentential pitch, a moderate degree of force, and the pure
or orotund quality, it is the appropriate expression of all exalted
prose and poetry, not strongly dramatic.
=Thorough Stress= is effected by continuing the force and fulness of the
radical stress throughout the whole concrete. Used as a current mode,
which should be but rarely, it is expressive of bluntness, arrogance,
bravado; and, with short quantities, of ignorant coarseness.
Occasionally it may be used instead of final stress to give emphasis to
a syllable whose vanishing movement is but little capable of receiving
an increase of force.
=Compound Stress= combines the qualities of both radical and final
stress; it is therefore of extreme character, and can be only
occasionally used. With wide intervals, in its stronger modes, it is
expressive of the utmost intensity of feeling; in its lighter modes it
is the natural expression of strong surprise.
=The Loud Concrete= is simply the equable concrete uttered with greater
fulness of breath and loudness of tone. It is used to break a current of
light force for the sake of emphasizing some word or phrase; and, in
impassioned discourse, it may be used as a current mode, individual
words or phrases being then put in relief by receiving the forcible
radical, or thorough, or compound stress.
In reference to stress it must be remembered that, as with all other
varieties of emphatic utterance, no one form should prevail as an
exclusive mode. Even a prevalent drift of thought or feeling will be
most effectively rendered by vocal signs which change in color and
intensity from word to word. It must also be borne in mind in reference
both to force and stress, and to pitch and time as well, that the modes
which are employed must sustain a suitable relation to the situation and
surroundings of the speaker. Where considerable space has to be filled
and distance overcome, the energy of utterance should be correspondingly
intense; but for great distances, what is called =level speaking= is the
only effectual mode,--that is, speaking exclusively in those tones of
normal pitch in which the voice has most penetrating power, with force
of almost constant intensity, and in a somewhat slow movement with long
syllabic quantities, but of course with as much needful variation of
expression as is possible within these limits.
IV. TIME. Time is rate of utterance. It comprehends _quantity_, or rate
considered in reference to the duration of individual syllables; and
_movement_, or rate considered in reference to the utterance of
syllables and words in succession. With it may be considered _pauses_,
or cessations of the voice, helpful in the expression of thought and
feeling, and necessary to the working of the vocal mechanism.
=Quantity=, as defined above, is an arbitrary thing, dependent almost
entirely upon the will of the speaker. But many words and syllables are
more expressive of their meaning when, in uttering them, the voice is
somewhat prolonged,--hence _quantity is an element of expression_.
Again, many words and syllables can receive this prolongation of
utterance more readily than others,--hence _quantity is a natural
element of spoken language_. As indefinite syllables are much more
capable of prolongation than mutable or immutable syllables, they are
said to possess long quantity, or, more shortly, "to possess quantity";
mutable syllables possess quantity in a less degree, and immutable
syllables are naturally deficient in quantity.
As an element of expression, quantity (that is, long quantity) lends
dignity and grace to the movement of the voice, and affords ground for
the display of those expressive modes of vocal action which are
incompatible with the rapid or ejaculatory utterance of the concrete;
and hence, with median stress, the wave, moderate intervals, medium or
low sentential pitch, it is used as naturally interpretative of
solemnity, reverence, awe, deep pathos, ardent admiration, and all
elevated emotion. Colloquial tones, excited argument, wit, raillery, and
all the lighter emotions, require for their expression, brilliancy
rather than grace, and so are more fittingly interpreted by short
quantities and radical stress.
The discerning reader, in his work of vocal interpretation, will not
fail to take advantage of the inherent character of syllables with
respect to quantity. Our language abounds in indefinite syllables to
which he may impart whatever quantity he may desire. On the other hand,
immutable syllables, while not admitting the wave and the median stress,
are eminently fitted to receive the more forcible forms of radical
stress; and mutable syllables, with their abrupt closes, permit of
perfect exemplifications of thorough and final stress.
=Movement=, though it depends for its slower and more expressive forms
upon the capacities of syllables for the reception of long quantities,
is, in its more rapid forms, quite independent of syllabic structure,
and dependent only on the will of the speaker; hence it may be spoken of
as being altogether under his control. A medium rate of utterance is,
with respect to time, the natural expression of an equable flow of
thought. The livelier emotions should be indicated by quicker rates, and
hence, cheerfulness, joy, vivacious dialogue, animated narration,
naturally find their expression in movements more or less brisk, with
short quantities, varied intonations, and pitch higher than the normal;
the more vehement emotions, eagerness, anger, excited anxiety, demand
simply heightened forms of these modes. Contrariwise, thought of grave
and meditative character, admiration, reverence, and all the deeper and
calmer feelings, require a deliberative, slow-timed utterance, with long
quantities for accented syllables, and extended time for even unaccented
syllables. As these serious emotions become stronger and deeper, the
syllabic quantities become proportionately longer, and with impressive
median swells, orotund quality, low pitch, waves and simple intonations
of the second, frequent phrases in monotone, and an occasional tremor,
constitute the most impressive utterance of adoration.
_Occasionally an abrupt change in quantity, or movement, may be employed
as a mode of emphasis_, either positive or negative; for example, in a
current of rapid movement, a word may be put into strong relief by being
uttered with quantity much extended; contrariwise, a parenthetical or
explanatory phrase is usually touched upon lightly and with a more rapid
movement than that of the current in which it is found.
=Pause= _may be used as an element in the expression of thought simply,
that is, as a help to the interpretation of the mere sense of the words
read_; or, _more emphatically, as an element in the expression of
feeling and emotion_. As interpretative of thought, pauses should
correspond mainly with the graphical marks of punctuation. Two things,
however, must be borne in mind: _first_, the use of punctuation marks in
writing and in printing is always more or less an arbitrary matter,
scarcely any two authors agreeing in their employment of them; and
therefore the reader's own good sense must be to him his principal
authority as to the closeness with which he follows them: and _second_,
pauses are to an auditor what punctuation marks are intended to be to a
reader; but, whereas the eye may constantly keep within its vision the
relation of each word uttered, both to those which preceded it and to
those which are to follow, the ear hears the words that are read only
_ictus_ by _ictus_, stroke by stroke, and therefore can not aid the mind
to grasp this relation--the memory alone helping to do that; and hence,
in reading, pauses should be more frequent, and perhaps more prolonged,
than the punctuation marks might seem to necessitate. The reader should
also bear in mind that even the plainest and simplest diction, or that
requiring the most rapid utterance, may be so marked by appropriate
pauses that those stoppages of the voice necessarily required for
inspiration, shall never occur except when they assist to interpret the
sense,--they must not interrupt it.
As interpretative of emotion pauses do not necessarily correspond to
grammatical structure; but, as with all the modes of expression
previously considered, their frequency and length--their only
modifications--must harmonize with the feeling which they are to assist
in interpreting. In length, for example, they should correspond with the
movement of which they may be said to form a part; when the movement is
slow, as in the expression of awe, reverence, and the like, they are
naturally long; in the brisk movement required to interpret the livelier
emotions, they should be short. As a mode of emphasis pause serves to
fix the attention of the hearer,--either _backward_ upon a word or
phrase, that the mind may dwell upon it, or _forward_ to awaken
curiosity and expectation: it is evident then that a frequent use of it
for this purpose would destroy its value.
_Pauses may be used in reading to simulate an appropriate labor of
utterance_, as when the mind is supposed to be overcome by sorrow, or
disturbed by anger. At such times also, they serve as fit rests for the
voice in its efforts to express the disturbed condition of the mind, and
as appropriate avenues for the escape of emotion otherwise than by
vocality, as by sibling. _Pauses should be used also to indicate sudden
transitions from one state of caution to another._
_THE HIGH SCHOOL READER_.
* * * * *
I. KING SOLOMON'S PRAYER AND BLESSING AT THE DEDICATION OF THE TEMPLE.
_From_ THE FIRST BOOK OF KINGS.
_Translated 1611--Revised 1885._
Then Solomon assembled the elders of Israel, and all the heads of the
tribes, the princes of the fathers' houses of the children of Israel,
unto king Solomon in Jerusalem, to bring up the ark of the covenant of
the LORD out of the city of David, which is Zion. And all the men of
Israel assembled themselves unto king Solomon at the feast, in the month
Ethanim, which is the seventh month. And all the elders of Israel came,
and the priests took up the ark. And they brought up the ark of the
LORD, and the tent of meeting, and all the holy vessels that were in the
Tent; even these did the priests and the Levites bring up. And king
Solomon and all the congregation of Israel, that were assembled unto
him, were with him before the ark, sacrificing sheep and oxen, that
could not be told nor numbered for multitude. And the priests brought in
the ark of the covenant of the LORD unto its place, into the oracle of
the house, to the most holy place, even under the wings of the cherubim.
For the cherubim spread forth their wings over the place of the ark, and
the cherubim covered the ark and the staves thereof above. There was
nothing in the ark save the two tables of stone which Moses put there at
Horeb, when the LORD made a covenant with the children of Israel, when
they came out of the land of Egypt. And it came to pass, when the
priests were come out of the holy place, that the cloud filled the house
of the LORD, so that the priests could not stand to minister by reason
of the cloud: for the glory of the LORD filled the house of the LORD.
Then spake Solomon, The LORD hath said that he would dwell in the thick
darkness. I have surely built thee an house of habitation, a place for
thee to dwell in for ever. And the king turned his face about, and
blessed all the congregation of Israel: and all the congregation of
Israel stood. And he said, Blessed be the LORD, the God of Israel, which
spake with his mouth unto David my father, and hath with his hand
fulfilled it, saying, Since the day that I brought forth my people
Israel out of Egypt, I chose no city out of all the tribes of Israel to
build an house, that my name might be there; but I chose David to be
over my people Israel. Now it was in the heart of David my father to
build an house for the name of the LORD, the God of Israel. But the LORD
said unto David my father, Whereas it was in thine heart to build an
house for my name, thou didst well that it was in thine heart:
nevertheless thou shalt not build the house; but thy son that shall come
forth out of thy loins, he shall build the house for my name. And the
LORD hath established his word that he spake; for I am risen up in the
room of David my father, and sit on the throne of Israel, as the LORD
promised, and have built the house for the name of the LORD, the God of
Israel. And there have I set a place for the ark, wherein is the
covenant of the LORD, which he made with our fathers, when he brought
them out of the land of Egypt.