EMPHATIC PHRASE. Sometimes several words in succession are emphasized, forming what is called an emphatic phrase. EXAMPLES. Shall I, the conqueror of Spain and Gaul, and not only of the Alpine nations but of the Alps themselves shall I compare myself with this HALF-YEAR-CAPTAIN ? Shall we try argument? Sir, we have been trying that for the LAST TEN YEARS. And if thou said'st, I am not peer To any lord in Scotland here, EMPHATIC PAUSE. The emphatic expression of a sentence often requires a pause where the grammatical construction authorizes none. This is sometimes called the rhetorical pause. Such pauses occur chiefly before or after an emphatic word or phrase, and sometimes both before and after it. EXAMPLES. Rise-fellow men! our country-yet remains! But most-by numbers judge the poet's song: He said; then full before their sight Produced the beast, and lo!-'twas white. VI. MODULATION. Modulation includes the variations of the voice. These may be classed under the heads of Pitch, Compass, Quantity, and Quality. PITCH AND COMPASS. If any one will notice closely a sentence as uttered in private conversation, he will observe that very few successive words are pronounced in exactly the same key or with the same force. At the same time, however, there is a certain PITCH or key, which seems, on the whole, to prevail. This key-note, or governing note, as it may be called, is that upon which the voice most frequently dwells, to which it usually returns when wearied, and upon which a sentence generally commences, and very frequently ends, while, at the same time, there is a considerable play of the voice above and below it. This key may be high or low. It varies in different individuals, and at different times in the same individual, being governed by the nature of the subject and the emotions of the speaker. It is worthy of notice, however, that most speakers pitch their voices on a key too high. The range of the voice above and below this note is called its COMPASS. When the speaker is animated, this range is great: but upon abstract subjects, or with a dull speaker, it is small. If, in reading or speaking, too high a note be chosen, the lungs will soon become wearied; if too low a pitch be selected, there is danger of indistinctness of utterance; and in either case there is less room for compass or variety of tone than if one be taken between the two extremes. To secure the proper pitch and the greatest compass observe the following rule. RULE XII.-The reader or speaker should choose that pitch in which he can feel himself most at ease, and above and below which he may have most room for variation. REMARK 1.-Having chosen the proper key-note, he should beware of confining himself to it. This constitutes monotony, one of the greatest faults in elocution. One very important instrument for giving expression and life to thought is thus lost, and the hearer soon becomes wearied and disgusted. REMARK 2.-There is another fault of nearly equal magnitude, and of very frequent occurrence. This consists in varying the pitch and force without reference to the sense. A sentence is commenced with vehemence and in a high key, and the voice gradually sinks until, the breath being spent, it dies away in a whisper. NOTE.-The power of changing the key at will is difficult to acquire, but of great importance. REMARK 3.-The habit of sing-song, so common in reading poetry, as it is a variation of pitch without reference to the sense, is a species of the fault above mentioned. REMARK 4.-If the reader or speaker is guided by the sense, and if he gives that emphasis, inflection and expression required by the meaning, these faults speedily disappear. REMARK 5.-To improve the voice in these respects practice is necessary. Commence, for example, with the lowest pitch the voice can comfortably sound, and repeat whole paragraphs and pages upon that key with gentle force. Then repeat the paragraph with increased force, taking care not to raise the pitch. Then rise one note higher, and practice on that, then another, and so on, until the highest pitch of the voice is reached. Reverse the process, and repeat as before until the lowest pitch is obtained. NOTE. In these and all similar exercises, be very careful not to confound pitch and force. QUANTITY AND QUALITY. The tones of the voice should vary also in quantity, or time required to utter a sound or a syllable, and in quality, or expression, according to the nature of the subject. REMARK.-We notice a difference between the soft, insinuating tones of persuasion; the full, strong voice of command and decision; the harsh, irregular, and sometimes grating explosion of the sounds of passion; the plaintive notes of sorrow and pity; and the equable and unimpassioned flow of words in argumentative style. The following direction, therefore, is worthy of attention. The tones of the voice should always correspond both in quantity and quality with the nature of the subject. EXAMPLES. Passion and Grief. Plaintive. Calm. Fierce Anger. Loud and Explosive. "Come back! come back!" he cried, in grief, My daughter! O, my daughter!" I have lived long enough: my way of life A very great portion of this globe is covered with water, which is called sea, and is very distinct from rivers and lakes. Burned Marmion's swarthy cheek like fire, And "This to me?" he said; To cleave the Douglas' head! "Even in thy pitch of pride, REMARK 1.-In our attempt to imitate nature it is important to avoid affectation, for to this fault even perfect monotony is preferable. REMARK 2.-The strength of the voice may be increased by practicing with different degrees of loudness from a whisper to full rotundity, taking care to keep the voice on the same key. The same note in music may be sounded loud or soft. So also a sentence may be pronounced on the same pitch with different degrees of loudness. Having practiced with different degrees of loudness on one key, make the same experiment on another, and then on another, and so on. This will also give the learner practice in compass. VII. POETIC PAUSES. In poetry we have, in addition to other pauses, poetic pauses. The object of these is simply to promote the melody. At the end of each line a slight pause is proper, whatever be the grammatical construction or the sense. The purpose of this pause is to make prominent the melody of the measure, and in rhyme to allow the ear to appreciate the harmony of the similar sounds. There is, also, another important pause, somewhere near the middle of each line, which is called the casura or cœsural pause. In the following lines it is marked thus (1). EXAMPLES. There are hours long departed || which memory brings, REMARK.-The cæsural pause should never be so placed as to injure the The following lines, if melody alone were consulted, would be read thus: sense. With fruitless la || bor Clara bound, And strove to stanch || the gushing wound; Exhausted all the church's prayers. This manner of reading, however, would very much interfere with the proper expression of the idea. This is to be corrected by making the cæsural pause yield to the sense. The above lines should be read thus, (5.-3.) With fruitless labor || Clara bound, And strove to stanch the gushing wound; Exhausted || all the church's prayers. |