The ability to read well cannot be attained without much pains and study.
For even a moderate proficiency in the art of reading two requirements are
essential: (1) A cultivated mind quick to perceive the sequence of thoughts
which the words to be read logically express, and equally quick in its power
sympathetically to appreciate the sentiment with which the words are informed—the
feeling, emotion, passion, which pervades them—but which they suggest
rather than actually portray; and (2) a voice so perfected that its utterances fall
upon the ear of the listener with pleasing effect, and so flexible that it can be
managed skilfully to convey to him the full meaning and force of all the ideas
and sentiments formally expressed by the words or latent in them. Of these
two requirements the first is undeniably the more important; and that training
in the art of reading in which the close, persistent, and liberal study of literature
for its own sake has not proceeded pari passu with the requisite exercises for
the development of the powers of the voice and with the study of the principles
of vocal interpretation, has resulted in a meretricious accomplishment of very
illusive value.
Nor will the special study and accurate mastery of a number of individual
selections give that readiness of mental apprehension which is indispensable to a
good reader. The ability quickly to recognize word-forms and to utter them
with ease, to catch the drift of ideas, and to feel ready sympathy with change and
flow in sentiment, is not to be had without a long course of wide and varied
reading. No one can become a good reader by passing through, no matter
how carefully, a set of reading text-books merely. Pupils should be encouraged
to read for themselves. They should, of course, be guided in their selection of
reading matter, and they should be helped to acquire a taste for that which is
purest and most helpful in literature; but unless they form a habit of reading,
and of reading thoughtfully and with precision, they can never become good
readers.
In oral reading, readiness and accuracy depend largely upon the alertness and
flexibility of the vocal organs, and to secure ease and excellence in the working
of their delicate mechanism much practice is necessary. The pupil should persistently
read aloud. A practice of this sort, watchfully pursued, with a reasonable
degree of self-discipline in the correction or avoidance of errors, is helpful
not alone in obtaining a mastery of the reading art, and in mental culture,—it
is equally beneficial as a physical exercise. It will, however, be much more
efficacious of good, both of mind and of body, if pursued in accordance with
those principles of voice culture and of vocal interpretation, which experience
and special study have established.
But only a small proportion of all the reading that is done, is oral reading.
It is silent reading that is universally employed as an instrument of study, of
business, of amusement. As a rule, however, very little provision is made for
the acquirement of a facility in silent reading; this, it is thought, will result as
a by-product of the regular training in oral reading. Almost the reverse of this
is true. Ease and flexibility of articulation, quickness in catching the drift of
ideas, and readiness in varying the tones of the voice in the utterance of words
so as impressively to portray their latent sentiment,—all this is possible with
those alone to whom difficult word-forms, complex sentence-structures, and the
infinite variety and play of thought and emotion, are more or less familiar
through such a wide range of reading as only the silent prosecution of it makes
possible.
The art of oral reading, however, though not so generally needful as silent
reading, is still of great importance to everyone in respect of its practical utility
simply,—though few of those whose duty it is to read aloud in public, do so
either with accuracy or grace; as an accomplishment which may be used to
give pleasure to others, it is, when perfectly possessed, not excelled by any
other; so that as an acquisition which puts one in a position of vantage either
for benefitting one's self or for bestowing delight or benefit upon others, it is
worth every necessary struggle for its attainment.
One of the most valuable results of oral reading when systematically pursued
as a school study, is the effect which it has in improving the tones of the voice
for ordinary conversation and discourse, and in securing some measure of
orthoepy as a fixed habit of utterance. Conversational speech is notoriously
slovenly. The sonority of our vowels is lost, and their distinguishing qualities are
obscured; and with unnoticed frequency our consonants are either dropped or
amalgamated with one another. Yet, while amendment in these matters is to
be striven for, there is nothing that the teacher who wishes to establish habits of
orthoepy has to be more watchful in guarding against, than bestowing upon
his pupils an affected or mincing utterance, all the more ludicrous and objectionable,
it may be, in that a certain set of words are pronounced with over-nicety,
while almost all others are left in a state of neglected vulgarity.
Too frequently the study of oral reading is pursued with reference solely to
the prospective public use of the art in the declamation of prepared passages;
and the elocution-master's science has been brought into some discredit by wide
discrepancies between the performances of his pupils in their well-drilled and
often hackneyed selections and their ability to read unfamiliar pieces at sight.
It is quite true that voice culture is greatly aided by the close study and frequent
rendering of selections suitably chosen for the elocutionary difficulties which
they present; but it should never be forgotten that good reading, the sort of
reading which the schoolmaster should above all else endeavor to make his
pupils proficient in, implies the ability so to read a plain account, a story, an
oration, a play, or what not, at sight, with absolute correctness as to pronunciation,
with such clearness of articulation and appropriateness of sentence utterance as
will make it perfectly audible and intelligible to one's auditors, and with
such suitable and impressive intonations as will put them in full possession of
those emotions which may be said to be the essence or spirit of the piece;—and,
moreover, to do all this with pleasure to one's hearers and with ease to one's
self. Now as comparatively few readers are ever required to read in public,
and as in the home-circle everyone ought to read, it is plain that the first duty
of the teacher of elocution is to develop in his pupils a mastery of such a style
of reading as is appropriate to small audiences; and, then, if he have time and
opportunity, to extend and amplify the practice of his art so as to fit such as are
capable of fuller mastery of it to appear before greater audiences. For though
all voices are capable of being much improved through cultivation, few only can
be adapted to the requirements of a large auditorium; and the care and attention
which should be devoted to the benefit of all should not be spent for the
advantage merely of the few.
And moreover, those practices and studies which voice culture and the attainment
of a knowledge of the principles of vocal interpretation demand, may be
pursued by all in common. That alone which is necessary for the public reader
or orator, is a more extended, and, perhaps, a more earnest and thoughtful
practice.
Although practices for the improvement of the voice cannot proceed far without
attention to the principles of vocal interpretation, and though the study of
the latter necessarily includes the former, yet for the sake of clearness the elementary
principles of voice culture may be discussed separately from their application
in the interpretation of thought and sentiment.
With respect both to articulation and expression the generic properties of the
voice are five, namely: Quality, Pitch, Force, Time, Abruptness. Of these
properties there are, of course, many modes or degrees, but the voice must, in
every tone that it utters, manifest itself in some mode or other of each; and it is
the possibility of infinite choice in the ways of combining the modes that gives to
vocal expression its infinite possibility of variety. The principles of voice culture
will be best understood, however, if these properties be considered separately.
Quality has reference to the kind of the voice in respect of its smoothness or
roughness, sonority or thinness, musicalness or harshness; also in respect of the
completeness of its vocality.
Pitch has reference to the degree of elevation or depression in what is called
in music the scale. It may be used specifically, in reference to single tones or
syllables (either as to their opening, or as to their whole utterance), or generally,
as descriptive of the prevailing tone or note which the voice assumes in reading
a sentence or passage.
Force has reference to the power or intensity with which the sounds of the
voice are uttered. When force is used in the utterance of single syllables, in
whole or in part, it is spoken of as Stress.
Time is rate of utterance. It is used with reference both to single syllables,
and to phrases, sentences, and passages. In regard to single syllables it is
sometimes called Quantity. In the consideration of time may be included that
of pauses and rhythms.
Abruptness has reference to the relative suddenness with which syllables may
be uttered. It may vary from the most delicate opening to a forcible explosion.
Vocality depends upon respiration. All exercises, therefore, which are effective
in increasing the vigor, freedom, and elasticity of the breathing apparatus,
may be taken as initiatory steps in voice culture; and, in moderation, they
should be practised continually. Full, slow inspirations followed by slow, and,
as far as possible, complete expirations; full, quick inspirations similarly followed;
full inspirations followed by sudden and forcible expirations; full, deep
inspirations, followed by slow, slightly but distinctly audible expirations, as in
deep sighing; these and similar practices may be pursued. What is to be
aimed at is to secure complete control of the breath, especially to the degree
that, with perfect deliberateness, it can be equably and smoothly effused.
In all exercises where vocality is required it is best first to use the sound of ä,
as in far, for in this sound the quality of the human voice is heard in most perfection,
and in uttering it the vocal organs are most flexible and most easily
adapt themselves to change. It may be preceded by the aspirate h, or by some
consonant, as may be thought necessary.
In effective speaking or reading, with respect to the abruptness and rapidity
of expiration there are three modes of utterance: the effusive, by which the
voice is poured forth smoothly and equably, the expulsive and the explosive.
Of these three modes the effusive is by far the most important, but the others,
and especially the expulsive, have their uses also. These modes will be illustrated
in the following exercise:
Exercise.—1. After a full and deliberate inspiration let the expiration of the
element h be gently effected, until the lungs are exhausted—the aspiration
coming from the very depths of the throat. Let this be repeated with the syllable
häh, audibly whispered. This is effusive utterance.
2. After a full and deliberate inspiration let the expiration of the element h
be suddenly effected, the expiration being continued until the whispering sound
vanishes in the bottom of the throat. Let this be repeated with the syllable häh,
audibly whispered. This is expulsive utterance.
3. Let the exercise be the same as in (2) except that the expiration is to be
much more forcibly effected, and completed almost instantaneously. This is
explosive utterance.
In the cultivation of the voice either one of two ends is generally kept in
view—its improvement for speaking or its improvement for singing; but progress
may be made towards both ends by the same study, and those exercises
which benefit the singing voice benefit the speaking voice, and vice versa. The
distinction between speaking tones and singing tones should be clearly understood.
Musical tones are produced by isochronous (equal-timed) vibrations of
the vocal organs continued for some length of time. Hence, a musical tone is a
note, which may be prolonged at will without varying in pitch, either up or
down. A speaking tone, on the contrary, is produced by vibrations which are
not isochronous; it is not a note, properly so called, and can not be prolonged,
without varying in pitch. Musical tones are discrete,—the voice passes from
pitch to pitch through the intervals silently. In speaking, every tone, however
short the time taken in uttering it, passes from one pitch to some other through
an interval concretely, that is, with continuous vocality; though, with respect to
one another, speech syllables, like notes in music, are discrete. This may be exemplified
by uttering the words, "Where are you going?" In singing these words,
they may be uttered on the same note, or on different notes, or, indeed, with different
notes for the same word; but the voice skips from note to note through the
intervals. In speaking the words, each is uttered with an inflection or intonation
in which the voice varies in pitch, but passes through the interval concretely;
the separate words, however, and the separate syllables (if there were
any) being uttered discretely. Musical utterance might be graphically illustrated
by a series of horizontal lines of less or greater length succeeding one another
at different distances above or below a fixed horizontal line. In a similar notation
for speech utterance the lines would all be curved, to represent the concrete
passage through the various intervals. It is the concrete intonation of every
syllable and monosyllabic word which gives to speech its distinctive character
from music. Each syllable and monosyllabic word is called a concrete, and
it is with the concrete in all its various possibilities of utterance that voice culture
has mainly to do.
The intervals traversed by the voice in uttering the concrete are very variable.
Using the musical scale for reference it may be said that in ordinary speech they
are generally of but one, or, at most, two notes. In animated discourse or passionate
utterance the intervals may be greater. For illustration, let the pronoun
"I" be uttered in a tone of interrogative surprise; a concrete with a rising
interval will be the result. The more the surprise is emphasized, especially if
indignation be conjoined with it, the greater will be the interval that the voice
passes through in uttering the concrete. If the word "lie" be given immediately
after the pronoun with the same intensity of feeling, the voice discretely
descends from the high pitch heard at the end of the utterance of the pronoun,
and in uttering the next concrete, again ascends through an interval, of less or
more extent according to the emphasis which is imparted to it.
Again, in speech of sorrow, murmuring, piteous complaint, and the like, concrete
intervals of less extent than those used in ordinary discourse are often
heard. Thus, if the sentence "Pity me, kind lady, I have no mother," be uttered
with a plaintive expression, concretes with small intervals will be distinctly
noticeable; but it will be also noticed that with respect to one another the syllables
are discretely uttered, just as in the sentence where the concrete intervals
were much greater.
Without intending a scientifically accurate and rigid statement, it may be said
(again borrowing the terminology of music) that in ordinary speech the concretes
are uttered with intervals of a second, or at most a third; that in very
expressive or impassioned utterance intervals of a fifth or an octave are frequently
used; and that the mode of progression from syllable to syllable is
diatonic, that is, not concretely, but discretely from tone to tone; and further,
that in plaintive language, the syllables are uttered concretely with intervals of a
semitone only, but that the mode of progression from syllable to syllable is still
discrete.
Sometimes, but rarely, syllables are uttered tremulously, or with a tremor;
that is, with constituent intervals of less than a semitone, uttered discretely in
rapid succession, and passing, in the aggregate, through an interval of more or
less width. An exaggerated form of this utterance may be heard in the neighing
of a horse.
Exercise.—1. Utter the syllable pä as a concrete, with rising and falling
intervals, severally, of a second, third, fifth, and an octave; also with intervals
of a semitone; also with a tremor. Let the exercise be varied so as to include
many degrees of initial pitch. Use a diagram of a musical staff for reference.
2. Read with exaggerated impressiveness, "Am I to be your slave? No!"
In the pronunciation of the letter ā, as in pate, two sounds are heard: the
first is that of the name of the letter, which is uttered with some degree of fulness;
the second is that of ē in mete, but, as it were, tapering and vanishing;—in
the meantime the voice traverses a rising interval of one tone, that is, of a
second. The utterance of these two sounds, although the sounds themselves
are distinct, is completely continuous, from the full opening of the one to the
vanishing close of the other, and it is impossible to say where the first ends and
where the last begins. It is essential, however, to consider them separately.
The first is called the radical movement, and the second the vanishing
movement; and these together constitute the entire concrete.
All the vowels do not equally well exemplify in their utterance a distinction
of sound in their radical and vanishing movements, because some vowel sounds
are less diphthongal than others, and some, again, are pure monophthongs;
but these two movements and the concrete variation of pitch, the result of one
impulse of the voice, are the essential structure of every syllable, and are characteristic
of speech-notes as contradistinguished from those of song.
When the radical and vanishing movements are effected smoothly, distinctly,
and without intensity or emotion, commencing fully and with some abruptness,
and terminating gently and almost inaudibly, the result is the equable concrete.
This of course may be produced with intervals, either upward or downward,
of any degree—tone, semitone, third, fifth, or octave. It must be said, however,
that some syllables, and even some vowels, lend themselves more easily
than others to that prolonged utterance which is essential to the production
of wide intervals and the perfectness of the vanishing movement.
The equable concrete is the natural, simple mode of utterance; but under the
influence of interest, excitement, passion, and so on, the utterance of the concrete
may be greatly varied from this by means of stress, or force applied to
some part or to all of its extent. The different variations may be described as
follows:
(1) Radical Stress, where force is applied to the opening of the concrete. (It
should be said that a slight degree of radical stress is given even in the equable
concrete, producing its full, clear opening.)
(2) Loud Concrete, where force is applied throughout the whole concrete, the
proportion of the radical to the vanish remaining unaltered.
(3) Median Stress, where force is applied to the middle of the concrete, producing
a swell, or impressive fulness.
(4) Compound Stress, where force is applied in an unusual degree to each
extremity of the concrete.
(5) Final Stress, where force is applied to the end of the concrete, the radical
stress being somewhat diminished in fulness.
(6) Thorough Stress, where force is so applied that the concrete has the
same fulness throughout.
Exercise.—With the syllable pä exemplify the equable concrete and the several
varieties of stress, using different degrees of initial or radical pitch, and the
various intervals of the tone, semitone, third, fifth, and octave. The exercises
for the radical stress should be first aspirated, then repeated with full vocality.
Besides the forms of the simple rising and falling intervals in which the concrete
is generally uttered, there is another form, called the wave, effected by a
union of these modes. It is of two varieties: (1) where a rising movement is
continued into a falling movement, called the direct wave; (2) where a falling
movement is continued into a rising movement, called the inverted wave.
Waves may pass through all varieties of intervals, and may be either (1) equal,
where the voice in both members passes through the same interval; or (2)
unequal, where in one flexion the interval traversed by the voice is greater than
in the other.
Exercise.—With the syllable pā exemplify the different kinds of waves, with the same variations of radical pitch, interval, and stress, as before.
The elementary sounds of speech are of three natural divisions; the tonics,
the subtonics, and the atonics.
The Tonics are the simple vowels and diphthongs. They are of perfect
vocality; they admit the concrete rise and fall through all the intervals of pitch;
they may be uttered with more abruptness than the other elements; and being
capable of indefinite prolongation they can receive the most perfect exemplification
of the vanishing movement. They may be said to be: a̤, as in all; ä, as in arm; ȧ, as in ask; ă, as in an; ā, as in ate; â, as in air; ē, as in eve; ĕ, as in end; ë, as in err; ī, as in ice; ĭ, as in inn; ō, as in old; ő, as in or; ŏ, as in odd; ū, as in use; ŭ, as in up; ōō, as in ooze; ŏŏ, as in book; oi, as in oil;
ou, as in out. (There are various ways of arranging and classifying these.)
Exercise.—Exemplify generally the equable concrete, loud concrete, radical
stress, and median stress, with upward and downward intervals, with clear,
sharp openings, and with gradually attenuated vanishes, upon each of the tonic
elements.
The Subtonics possess the properties of vocality and prolongation in some
degree, but much less perfectly than the tonics, and their vocality (known as
the vocal murmur) is the same for all. They are as follows:—b, d, g, v, z, y,
w (as in woe), th (as in then), zh (as z in azure), j (as in judge, by some considered
not elementary), l, m, n, ng (as in sing), r (as in ran), and r (as in far).
They can not, without great effort, be given an abrupt opening, and so are not
capable of much radical fulness, but from their property of vocality they can
receive, to a considerable degree, an exemplification of the vanishing movement.
Exercise.—Utter the word bud slowly, and detach from the rest of the
word the obscure murmur heard in pronouncing the first letter: this is the subtonic
represented by b. Utter this sound with different degrees of initial pitch,
and with different intervals, both downward and upward. Produce as full an
opening of the radical movement as possible, but do not attempt to give it
much stress. Obtain in every case a distinct vanish. Be careful not to convert
the subtonic into a tonic. Proceed in a similar manner with the other subtonics.
Then, distinctly obtaining the subtonics, unite them severally with the
sound of ä, first forcibly, then more gently, producing such syllables as bä, dä, etc., which may be rendered with upward and downward intervals, and with different degrees of initial pitch. Finally, with such syllables as äb, äd, äg, äv,
etc., exemplify all the varieties of stress.
The Atonics correspond with the first eleven of the subtonics as given above,
from which they differ almost alone in having no vocality. They are p, t, k, f,
s, h, wh (as in when), th (as in thin), sh, and ch (as in child, by some considered
not elementary).
Exercise.—1. Form a list of such words as pipe, tote, kick, fife, siss, etc.,
and severally utter them slowly, holding the final element for a moment, and
then letting the breath escape suddenly; then, holding the initial letter firmly
for a moment let it come forcibly against the sound of the remainder of the
word, producing an abrupt opening, and radical stress of the vowel concrete.
2. Aspirate strongly the atonics as given above.
Exercise Recapitulatory.—1. Produce the syllable pä in an articulate
whisper in all the different varieties of pitch, interval, and stress. 2. Repeat
with such syllables as paw, pooh, pōh, etc. 3. Utter these syllables (1) expulsively,
(2) explosively, with varying intervals both upward and downward, and
producing distinct and clearly attenuated vanishes. 4. Select some passage of
poetry involving passionate thought, and read in articulated whispers, with
appropriate intonations, somewhat exaggerated, it may be. Let the intervals
and stresses be slowly and distinctly given. 5. Repeat the exercise in a half
whisper. 6. Next read the passage over several times in pure vocality, without
exaggeration, increasing the strength of the utterance until it is as full and
ringing as possible. Care must be taken that the utterance is in reality full and
ringing, not sharp and hard. Let the pitch chosen be not too high—as low as
possible; and let the tones come mainly from the chest and lower part of the
throat.
Note.—In all the exercises care should be taken that they be performed
easily and naturally, with perfect deliberation and without undue force; else
they will be harmful rather than useful.
Exercise in Concrete Intervals Continued.—1. Read with appropriate
intonations: "Did you say a̤, as in all?"—"No, I said ā, as in arm,"—producing
in the emphatic syllables suitable rising or falling intervals of one
tone. Then repeat, but with greater emphasis, producing intervals of a third, a
fifth, or an octave. Vary the sentences so as to include all the tonic elements.
2. With each tonic element, severally, produce first a rising and then a falling
interval, each of a tone; then intervals of a third, a fifth, and an octave. 3.
Extend the exercise so as to produce with each element, and with all the various
intervals, a series or succession of rising and falling intervals, thus: rising, falling,
rising, falling, etc. Use the blackboard and the musical scale for illustration
and reference.
Syllables vary greatly in their capacity for prolongation, and in this respect
are classified into immutable, mutable, and indefinite.
Immutable Syllables are almost incapable of prolongation; they are those
which end in one of the abrupt atonic elements, p, t, k; as tip, hit, kick; or in
one of the abrupt subtonics, b, d, g; as tub, thud, pug. Some syllables that so
end, by virtue of tonic or subtonic elements which they may contain, are capable
of some prolongation; for example, warp, dart, block, grab, dread, grog.
These are called Mutable Syllables.
Indefinite Syllables are capable of almost indefinite prolongation; they are
those which terminate in a tonic, or any subtonic except one of the three abrupt
subtonics, b, d, g; for example, awe, fudge, hail, arm.
Note.—It must be remembered that when for the sake of exercise or effect
syllables are extended in time, they must be so uttered that their identity is not
impaired,—that is, their enunciation must be free from mouthing.
As has been remarked before our pronunciation of vowels is notoriously careless;
but by a little attention anyone can easily free himself from this reproach.
Frequent practice in the accurate enunciation of the tonic elements as given
above, and a habit of watchfulness established as to the orthoepy of those which
are most easily obscured, in all words in which they occur, will soon secure, if
not a resonant, sonorous utterance with respect to the tonic elements, at least a
correct pronunciation. But the correct and distinct pronunciation of the subtonic,
and especially of the atonic, elements, when they occur, as is so frequent
in English words, in combination, is not so easily accomplished; and orthoepy,
in this respect, as a habit, cannot be secured without great care and incessant
practice. For example, the word months is habitually pronounced by almost
everyone as if it were spelled munce. The following list for practice will afford
material to begin with; other lists should be prepared by the teacher.
Plinth, blithe, sphere, shriek, quote, whether, tipt, depth, robed, hoofed, calved,
width, hundredth, exhaust, whizzed, hushed, ached, wagged, etched, pledged,
asked, dreamt, alms, adapts, depths, lefts, heav'ns, meddl'd, beasts, wasps, hosts,
exhausts, gasped, desks, selects, facts, hints, healths, tenths, salts, builds, wilds,
milked, mulcts, elms, prob'd'st, think'st, hold'st, attempt'st, want'st, heard'st,
mask'st.
Exercise.—Utter the words in the above list in distinct articulate whispers;
then with vocality, softly and gently. Avoid hissing and mouthing.
While, in reading, distinct enunciation is an excellence to be aimed at, yet the
words of a sentence should not be uttered as if completely severed from one
another. Every sentence falls naturally into groups, the several groups being
composed of words related in sense; and for impressive reading the words of
each group should be implicated, or tied together. For example, in the line,
Once upon a midnight dreary, while I ponder'd, weak and weary, there are
naturally three groups; in the line, The quality of mercy is not strain'd, there is
but one. In these groups the terminal sound of each word is implicated with
the initial sound of the succeeding word. If the terminal sound is a tonic, or a
flowing subtonic, the implication consists of a gentle murmuring prolongation
of the terminal element coalescing with the initial element of the next word; if
the terminal element is a flowing atonic the prolongation will not be accompanied
by a murmur; but in either case the vocal organs, while prolonging the
sound of one word, prepare, as it were, to begin the next. If the terminal element
be one of the abrupt subtonics the vocal murmur is difficult to produce,
and in this case, and also when the terminal element is an abrupt atonic, there
is a suspension of the voice for a time equal to that occupied by the murmuring
prolongation in the other cases; but the organs keep the position which they
have in finishing the one word until they relax to take position for the utterance,
with renewed exertion, of the opening sound of the next.
It must be added that this implication is not confined to the component words
of a group; for the sake of impressiveness the groups themselves are often
implicated,—but by suspension of the voice and a maintenance of the vocal
organs in their previous position, before they suddenly relax to form the opening
sound of the first word in their next group, rather than by the murmuring
prolongation above described.
Exercise.—Read with suitable implication: (1) O Tiber! father Tiber! to
whom the Romans pray, a Roman's life, a Roman's arms, take thou in charge
this day! (2) But still the patriot, and the patriot-bard, in bright succession
raise, her ornament and guard.
The nicety with which implication should be effected depends, like exactness
of articulation, upon the gravity, complexity, fervor, grace, beauty, or other distinguishing
and elevated quality of the thoughts and sentiments contained in the
words to be read. Common-place ideas are couched, as a rule, in common-place
language, and require no nice discrimination of sounds, or other refinement
of utterance, for their full rendering; but in true poetry and impassioned
prose implication is no mean instrument of effectual interpretation.
The speaking voice, like the singing voice, is capable of utterance through a
considerable range of pitch—in highly cultivated voices, of three octaves; in less
highly cultivated voices, of one octave; but for all voices, not perverted by bad
habit, there are three or four notes, of moderate height, upon which utterance is
most easy and natural, and most capable of great and sustained effort. These
notes should be selected as the normal pitch of discourse.
In speaking or reading, except in certain infrequent cases, the whole of the
breath expired from the lungs should be utilized in producing pure vocality.
Should any breath be spent in aspiration, or in hissing, or in guttural enunciation,
the vocality is said to be impure. Impure vocality, it is true, has its own appropriate
use, in the representation of certain emotional states of the mind. Pure
vocality is heard naturally in the tones of children at play; but in adults,
through carelessness or injudicious education, it is often wanting.
The mechanism of the voice is very complicated and not thoroughly understood.
It is a matter of common experience, however, that in the utterance of
tones of low pitch, whether speech tones or musical, the voice seems to come
from the chest rather than from the head; and, in the utterance of tones of
high pitch, on the other hand, it seems to come from the head rather than from
the chest; so that all tones are said to belong either to the lower or chest register,
or to the higher or head register. As both chest tones and head tones may
be obscured by impurities, and their resonance diminished or destroyed by
defective enunciation, the pure, clear, ringing utterance of tones of both registers
should be constantly striven for. The normal pitch of utterance, referred
to above, should always be such that the tones comprised in it can be produced
either from the head or from the chest, at will; but for sustained efforts, for the
best effects both of reading and of oratory, the chest tones are much to be preferred,
since, as compared with head tones, they are capable of being produced
with greater resonance and penetrating power, and, for any considerable length
of time, with greater ease to the speaker.
All tones of the human voice, whether speaking or musical, whether of the
head or of the chest, are spoken of as having quality, or timbre, and the term
is also used more generally in reference to the whole compass of utterance.
The quality of the voice is its most distinguishing characteristic, and it is upon
its cultivation and improvement that the greatest efforts of the student should
be spent. Pure voice is usually spoken of as being manifested in two qualities,
the natural and the orotund.
Natural Quality may be described as a head tone to which some degree of
resonance is given by the chest; but the brilliancy of its resonance is produced
by its reverberation against the bony arch of the mouth. It may, of course, vary
in pitch, but tones of low pitch that are intended to be impressive are most
suitably rendered in orotund quality. In its perfect manifestations, the natural
quality should be clear, ringing, light, and sparkling,—if it be possible to
describe its characteristics by such metaphorical words.
Orotund Quality is the result only of cultivation, but no speaker or reader
can produce those finer effects which are the appropriate symbols of strong and
deep emotion, whose voice cannot assume this mode at will. It differs from the
natural mode in obtaining from the chest a greater supply of air, and a deeper
and fuller resonance, and the reverberations seem to be against the walls of the
pharynx, or posterior regions of the mouth, rather than against the palate, or
upper part of the mouth. In fulness, strength, and ringing quality, it is superior
to the natural mode, but not distinct from it; in clearness and smoothness
it should be equal to it. As it befits a chest tone rather than a head tone, it is
natural to utterances in medium and low pitch; but it must not be confounded
with low pitch simply, nor must its characteristic fulness be taken for loudness
simply. With the orotund, as well as with the natural quality, all the voice
modes previously described may be conjoined.
Exercise.—1. With the syllable häh, make an expiration in the voice of
whisper, forcing slowly all air out from the chest. Then give to this expiration
vocality, producing the reverberation far back in the mouth: the resulting utterance
is a hoarse exemplification of the orotund. With the mouth in the position
of a yawn, making the cavity of reverberation as large as possible, repeat the
exercise until the utterance can be produced smoothly and without hoarseness.
2. Form similar syllables containing other tonic elements, and make similar
exercises, taking care to produce a smooth, effusive utterance. 3. Select a sentence
such as "Roll on thou deep and dark blue ocean, roll," abounding in long
open vowels and indefinite syllables, and using suitable intonations read it in
low pitch, with full, resonant chest tones. Then gradually raise the pitch, still
obtaining the tones from the chest and uttering them with full resonance. 4.
With such syllables as häh, you, now, man, war, hail, fool, practise in orotund
voice the various exercises for pitch, concrete intervals, waves, stress, etc., previously
suggested. 5. Read with feeling and appropriate intonations selected
sentences from compositions of elevated or impassioned diction, as "Solomons's
Prayer" (p. 35), "The Hymn" (p. 68), "France" (p. 205).
Of the various qualities (as they are called) of impure voice, the Aspirate, the
Sibilant, and the Guttural are defined with sufficient clearness, by their names.
Though these modes can be appropriately used only occasionally, nevertheless
they are of great value to the reader, and the voice should be trained to assume
them whenever necessary. Great care must be exercised, however, that impurities
shall never be present as characteristics of normal utterance; this, whether
from the head or chest, should be distinct, sonorous, and smooth, and should
exhaust every particle of air expired.
Another impure quality is the Pectoral, which is an aspiration produced, as
it were, from the lowest cavities of the chest; and still another is the Falsetto,
an unnatural voice, that seems to be produced entirely in the upper cavities of
the head. The employment of the Falsetto at any time, either in speaking or
reading, is of doubtful taste.
Exercise.—1. With the syllable häh exemplify severally the aspirate, guttural,
and pectoral qualities, first with insufficient vocality, then with sufficient.
Exemplify the sibilant impurity with such syllables as pish, false, traitress, miscreant.
In those exercises employ intervals of varying lengths, different degrees
of initial pitch, and the several varieties of stress; and let the utterances be made
effusively, expulsively, and explosively. 2. Select appropriate passages in "The
Raven" (p. 258) for exercise in natural, orotund, aspirate, guttural, and pectoral
qualities. Read the passages severally with appropriate intonations,—it
may be somewhat exaggeratingly. Then read the whole poem feelingly, with
appropriate, but not exaggerated intonations.
So far, what has been said has had reference mainly to the cultivation and
improvement of the voice, by the analogies and description of the various effective
modes in which it can be manifested, and by the suggestion of suitable
exercises for increasing its endurance, strength, flexibility, and resonance. It
remains now to discuss shortly some of the principles of vocal interpretation,—that
is, to discuss what modes of voice-action are appropriate to the representation
of the various emotions which the wide range of literature presents to the
reader.
It must be said in respect of principles that only broad and easily verifiable
ones are of use, and even these may be abused by a too rigorous adherence to
them. The best rule that can be given, as indeed it is founded on a principle
of widest application, is that laid down in the Fourth Reader:—To give a faithful
sympathetic attention to the full meaning and sentiment of what is read, and
to manage the voice so as effectively to express this meaning and sentiment; since
this will always ensure a certain measure of appropriateness, if not the full perfection
of it. And it cannot be too much emphasized that even the fullest knowledge
and most patient study can establish for the reading of any selection, or
passage, or sentence, none but general directions, since the same words may
very frequently be rendered in several ways, with differences of pitch, time,
stress, quality, implication, and so on, but with equal effectiveness and equal
appropriateness. And, on the other hand, any whole selection, even the simplest,
is far too complex in its thought and sentiment to be disposed of in one
general analysis, which shall predetermine the pitch, tone, and stress, and the
prevailing width of the intervals, and the direction of the inflections; all these
will vary from paragraph to paragraph, and from sentence to sentence, even
from word to word. To sum up, it may be said that good reading demands as
indispensable, quick-witted intelligence, ready sympathy, and a voice so trained
as to be flexible and resonant; if the reader have this much endowment his
reading will always be effective, and, moreover, appropriate and impressive.
All diction may be roughly described as exhibiting one of three states of feeling:
(1) that in which feeling, as it is generally understood, is almost wanting; (2)
that in which it is present in some considerable degree; (3) that in which the
feeling is present in an extreme degree, dominating the ideas which the several
sentences logically express. To the first division, which may be called the
diction of discourse, belongs all language indicative of a quiet state of mind—formal
statement, narrative, description, simple argument or reasoning: it is
the language of all ordinary writing. To the second division, which may be
called the diction of sentiment or feeling, belongs all language which indicates
that the mind of the speaker, real or supposed, is in a state of moderate
excitement; that he is interested in the relation of himself to others, and, consequently,
in the effect of his utterances upon them; or that, subjectively, he
is interested in himself: it is the language of admiration, reverence, awe, sincerity,
dignity, of pathos, supplication, penitence. To the third division, which
may be called the diction of passion, belongs all language expressive of deeper
excitement and more vehement interest than that described as animating the
diction of feeling: it is the language of earnest or anxious interrogation, of
passionate ejaculation, of powerful appeal, strong accusation, and fierce denunciation;
also, of contempt, derision, scorn, loathing, anger, hate, and so on.
Voice, as we have seen, possesses five generic properties, pitch, force, quality,
time, and abruptness; and, in every spoken word, it must assume some mode
of each of these properties, manifesting them in co-existence. This conjoint
mode, or vocal sign, as it is called, should be the appropriate expression of the
thought and feeling of which the word, in its place in the sentence, is the
graphical sign. Hence, as each word in a sentence may be said to have its
appropriate vocal sign, so each variety of diction may be said to have its appropriate
vocal expression,—a latitude of choice in the constituent modes, and a
consequent indeterminateness in the resulting expression, being, of course, always
conceded.
The appropriate vocal expression for the diction of discourse may be said to
consist of the following modes:—normal pitch, simple intonations, and waves
of a second, moderate force, the equable concrete varied by slight radical stress,
in quality the natural mode, in abruptness sufficient sharpness of opening to
effect clear articulation, and in time a moderate rate with effusive utterance.
As the diction rises above this plain unimpassioned character, and becomes
more and more informed with feeling and sentiment, the constituent vocal signs,
and hence the whole vocal expression, become more and more expressive. In
pitch there is frequent variation: in expressions of joy, astonishment, or for command,
the voice assumes naturally a somewhat higher elevation; and with equal
naturalness it descends below its normal level to utter the language of grave,
solemn, and reverential feeling. Again, inasmuch as the interval of the second
is the plainest and simplest within the command of the voice, in such diction as
we are now considering, intervals of a third, a fifth, or even an octave, may be
heard, both in simple intonations and in waves. Force, too, will not be unvaryingly
applied, but will be greater or less according as energy or passion may
demand. In stress the equable concrete will give place to the radical or to the
final, to express energetic resolve; or, in the language of pathos, exaltation,
reverence, supplication, and so on, to the median—the most effective of all
modes for the expression of such deep feeling as is compatible with slow utterance.
In time the rate of utterance will vary with the syllabic quantities, these
being short and crisp in the language of vivacious conversation, but extended,
and with distinct, attenuated vanishes, in grave and important monologue. In
quality, whenever the diction, departing from its simple character, becomes pervaded
by some deep emotion, the natural mode will give place to the orotund.
And while effusive utterance is always the prevalent mode, it will give place to
the expulsive mode or to the explosive, when energy of thought or force of
passion requires it so.
Thus, as the diction rises from plain discourse to the language of feeling, the
appropriate vocal expression gathers intensity and becomes more varied, assumes,
as may be said, brighter colors and displays greater contrasts; and so, in the
third class of diction, the diction of passion, it displays its intensest and most
vivid modes—its brightest colors, its deepest contrasts.
As it is in a general sense only, that diction can be understood to be referrible
to three classes, so also, in a general sense only, can it be understood that any
particular sentence or passage has its appropriate vocal expression. All that is
intended is simply this: an analysis of the sentence, or passage, or selection, gives
to the careful student a certain conception of the quality and intensity of the
feeling or passion that pervades it; this is to be interpreted, as well as may be,
by the most appropriate vocal signs possible—the whole constituting the vocal
expression suitable to the piece. In respect to its pervading emotion, the selection
will have what is called a drift, or general tendency, towards one of those
states described as characteristic of the diction of discourse, the diction of feeling,
and the diction of passion, respectively; and it is the business of the reader
to watch for this drift, which of course may vary from passage to passage, from
sentence to sentence, and sometimes from word to word, and to interpret it as
best he may.
To indicate what modes of voice utterance are naturally most appropriate to
the expression of these various emotional states and drifts, it will be best to take
up, one by one, the different properties of the voice, and the several modes in
which they are manifested, and to state briefly, and in general terms, the emotional
state or drift of which it is an appropriate expression. (With respect to
quality and abruptness this will be sufficiently done indirectly.) The student
then must for himself, if he wishes to apply these results to the reading of any
selected passage, first by analysis ascertain what are the emotional states which
it involves, what are its prevailing drifts, then in respect to each property of the
voice choose the suitable mode for the interpretation of these several states or
drifts, conjoin the selected modes into appropriate vocal signs, and with these
form the vocal expression that suitably interprets the whole passage. The
teacher, or the teacher and student together, should select from the Reader, or
elsewhere, sentences or passages that fitly exemplify the different modes; these
should be written upon a black-board, or in some other way preserved, and be
referred to frequently for practice both in voice culture and in vocal interpretation.
I. Pitch. Pitch must be considered under three heads: first, as referring to
the prevailing elevation of tone assumed by the voice in the reading of a whole
sentence, passage, or selection, called general or sentential pitch; second, as referring
to the degree of elevation assumed by the voice in the utterance of the
opening, or radical, of any syllable, called initial or radical pitch; third, as
referring to the tone-width of the intervals in the utterance of the syllable concrete.
Sentential Pitch in its various modes is descriptive of the general position
in the scale taken by the tones of the voice in uttering a sentence or passage.
It may be spoken of as medium, high, and low. Medium Pitch should correspond
with the normal pitch of discourse previously described. It is natural to
the expression of all unimpassioned thought, and also of all emotions, except the
livelier, and the deeper and more intense. High Pitch and Low Pitch are only
relative terms. They do not represent fixed and definite modes of utterance;
and all that can be said is, that for the interpretation of what may be called the
lighter feelings and emotions, such as cheerfulness, joy, exultation, interest, and
so on, also for the expression of raillery, facetiousness, humorous conversation,
laughter, and the like, sentential pitch of a degree somewhat higher than normal
pitch is appropriate; and, on the other hand, for the interpretation of what may
be called the graver and deeper feelings, such as awe, reverence, humility, grief,
and melancholy, and the more impassioned emotions, as disgust, loathing, horror,
rage, despair, as well as for the expression of all very serious and impressive
thought, sentential pitch of a degree somewhat lower than normal pitch is
appropriate. The degree of elevation and depression must be determined by
the judgment and good taste of the reader; but it must be borne in mind that
this degree may vary from passage to passage, and from sentence to sentence,
and even from phrase to phrase.
In every style of diction, no matter how unimpassioned it may be, there will
be frequent changes in the train of thought, and frequent changes in the intensity
of feeling; to represent these changes there should be corresponding variations,
or transitions in sentential pitch. These transitions also serve another
purpose, namely, to indicate an interpolated or parenthetical idea. In making
transitions the voice follows the general law of all vocal interpretation; strong
contrasts in thought and feeling are marked by transitions of wide intervals, and
lesser contrasts by lesser intervals.
Transitions in pitch are naturally accompanied by corresponding changes in
force, rate of utterance, and phrasing; and, like all other modes of expression,
these receive their color from the intensity of thought and feeling of which they
are the symbols. For example, in the rendering of a parenthetical clause (since, as
a rule, the thought expressed in the parenthesis is of less gravity than the thought
in the main sentence), the voice will manifest itself in lighter force and generally
in quicker movement, that is, in lighter, less contrasting colors; but whether
the pitch be raised or lowered depends upon the sentential pitch appropriate to
the main sentence,—it should be in contrast with that. And it may be remarked
in passing, that the reading of the parenthesis should end with a phrase melody
similar to that appropriate to the words immediately before the parenthesis, so
that the ear may naturally be carried back to the proper place in the main
clause for the continuation of the expression of the principal thought.
Radical Pitch, that is the pitch with which the opening of a syllable is
uttered, is, in respect of appropriate employment, the most important element of
reading or speaking; but all that can be done here, is to call attention to this,
and leave the student to exercise his taste and judgment in regard to its use.
The importance of appropriately varying radical pitch so as to impart melody
to continued utterance will be seen at once if a simple sentence (for example,
"Tom and Jim sat on a log") be read, first in that monotonous voice (that is,
with unvarying radical pitch) so often heard in the labored reading of improperly
taught young children, and then with those appropriate intonations heard in
animated colloquy. When properly rendered, even if read with but little animation,
each syllable, or concrete, passes through an interval of a second, and
the several syllables are discretely uttered; but the radical pitch varies from
syllable to syllable, forming a diatonic melody. For the rendering of any given
sentence in appropriate diatonic melody, positive direction as to the order of succession
in respect of radical pitch cannot be given; the same words may be uttered
with equal appropriateness in many varieties of melody. The ignoring of this
fact has led to the most absurd pretensions.
A group of two or three syllabic concretes is called a phrase of melody; and
as phrases vary with respect to pitch, in the order of succession of the radicals
of their constituent syllables, they receive different names: such as the monotone,
in which the radicals are all on the same pitch; and the ditone and the
tritone, groups of two tones and three tones respectively, with radicals of different
pitch; and, again, the concretes in these phrases may have upward or
downward intonations: but fixed rules cannot be laid down for their use. The
reader must bear in mind, however, that it is upon the tasteful use of phrases
and cadences, that is, upon the tasteful employment of variation in radical pitch,
that the melody of uttered language depends; and that if it be devoid of this
melody, it is both wearisome and unimpressive to the hearer.
The intonations of the voice must necessarily be through either rising intervals
or falling intervals, and there is a generic difference in the meaning of these.
The rising interval is heard naturally at the end of a direct question; that is,
one to which "yes" or "no" is an expected answer, as "Are you going home?"
The suspensive tone which the voice assumes at the end of the interrogation is
indicative of incompleteness of thought; and indication of incompleteness is the
characteristic function of all rising intervals.
The falling interval is heard naturally at the close of a complete statement,
as "I am here"; and hence, words indicating completeness, positiveness, resolution,
are appropriately uttered with downward intervals. In effecting a downward
intonation the voice operates in one of two ways: either the weaker mode,
in which it descends from a radical pitch at or near the current tone to a lower
pitch; or the stronger mode, in which it assumes discretely a radical pitch as
much above the current tone as the emphasis requires, and descends concretely
either to the current tone or below it.
As every sentence is more or less incomplete until the end is reached, 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.