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I.

The speaker is not necessarily heard because he shouts. The carrying quality of voice depends first upon its purity and articulation. Shouting sometimes prevents one from being understood.

2. The strongest bawling and declamation does not express the deepest emotion. Vociferation is loud, but empty. Gentle Force is suitable to express chaste emotion, plain thought, etc.

"Around this lovely valley rise
The purple hills of Paradise.
Oh, softly on yon banks of haze
Her rosy face the summer lays!
Becalmed along the azure sky,
The argosies of cloudland lie,

Whose shores, with many a shining rift,

Far off their pearl-white peaks uplift."

Moderate Force expresses ordinary discourse and lively interest.

"Jesus answered, My kingdom is not of this world. If my kingdom were of this world, then would my servants fight, that I should not be delivered to the Jews; but now is my kingdom not from hence."

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Loud Force. This is used in stronger emotion, suitable in parliamentary discussion, etc.

"How far, O Catiline, wilt thou abuse our patience? How long shalt thou baffle justice in thy mad career? To what extreme wilt thou carry thy audacity? Art thou nothing daunted by the nightly watch posted to secure the Palatium? Nothing, by the city guards? Nothing, by the rally of all good citizens? Nothing, by the assembling of the Senate in this fortified place? Nothing, by the averted looks of all here

present?"

Very Loud Force.

This expresses strong emotion.

"Follow your spirits, and, upon this charge,

Cry, Heaven for Harry! England and St. George!"

Faults.

I. Lack of energy in delivery, feeble enuncia tion, suggesting feebleness of mental action. Sometimes it indicates downright laziness.

2. Uncalled-for declamation, shouting, suggesting the effort to pass off noise for sense. Abuse of throat usually

accompanies this vicious delivery.

3. Spasmodic application of force, without reference to fitness, at times a careless mumble, and again loud, as if the speaker was suddenly awakened out of a reverie.

Practice. - I. Take into consideration the character of what you are delivering. Vary the force to suit.

2. Avoid feebleness, avoid shouting; make the sound smooth and full; endeavor to make the tones carry, with as little expenditure of force as possible. There should be no unpleasant reaction as to the feeling of the throat after speaking. This is always a sign of misuse.

Movement. The rates of movement in discourse are as follows:

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I. Quick rate. This expresses (a) rapid movement through space; (b) joyful or intense emotion; (c) suggests lightness, etc.

Moderate rate is used in simple narrative or didactic delivery.

Slow rate suitably expresses weighty, dignified matter, profound emotions, slow movement through space, etc.

Very slow rate is to express solemn and very weighty matter; labored, tedious motion.

Faults.. Utterance too rapid to be distinctly understood, and tiresome to the audience. Of course the rate of utterance varies with the temperament of the individual, but parts may be relatively fast or slow.

2. Dull, slow rate, dragging along on the final syllable, and sometimes adding an "ugh." This is miserable. No audience can resist its bad effects, unless the speaker is tossing them diamonds.

3. Lack of variety in the discourse. The speaker rushes along in a tiresome fluency or incessant loquaciousness, usually skipping all pauses. Fluency is not eloquence. Again the speaker may trudge along at a dull, monotonous pace, not having one spot of briskness.

Practice. Endeavor to achieve facility in the most rapid utterance. Take care not to sacrifice distinct articulation to rate of movement.

2. Practise slow, deliberate movements. Make the time on quantity, not between words. Persons with impetuous rate should studiously practise slow rate. Persons with slow rate should spur themselves to quick rate.

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Qualities of Voice in Use.- Pure tone. This is the clear quality free from breathiness, etc. It is used to express plain thought and agreeable emotion, also sadness or grief, when not mingled with solemnity.

"Ye bells in the steeple, ring, ring out your changes,

How many soever they be,

And let the brown meadow lark's note as he ranges,
Come over, come over to me."

Full tone. This is the deep, large quality variously called the "orotund," the "pulmonic," etc. It is used to express grandeur, vastness, sublimity, etc.

"Roll on, thou deep and dark blue ocean, roll!

Ten thousand fleets sweep over thee in vain."

Aspirate tone. This does not make all the breath up into voice, and is therefore not pure.

In rare instances it degenerates into a whisper. This qual ity expresses secrecy, darkness, indefiniteness, fervor, mora! impurity.

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Lady M. I heard the owl scream, and the crickets cry. Did not you

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Guttural tone. This is the vicious quality of voice formed in the throat. It is sometimes called into use in dramatic execution, as in expressing malevolence, passions, utter disgust, etc.

Faults and Practice.

any one quality.

I.

Avoid the habitual use of

2. The guttural and aspirated qualities are less frequently used. They were previously enumerated as faults, but are sometimes appropriately employed in expression. As a habit, they are serious defects.

3. Practise to command the several kinds of voice.

4. Employ the voice that suitably expresses the matter. Phrasing or Grouping. The function of phrasing is to unite the related parts of discourse, to separate the unrelated, to give prominence to the most important, and to cast other parts into shade.

The lack of inflectional forms in English, together with the inversions of style, parenthetical and expletive clauses, etc., render it necessary to indicate by the voice the relation and importance of the different parts of the sentence.

The means of phrasing are pause, pitch, and rate of utterance. In this connection, we think it profitable to give only one or two leading points in this part of analysis, without endeavoring to study the unending variety of related parts in construction.

The principal parts of a sentence, however far they may be separated by intermediate matter, must be plainly indicated. This may be done usually by emphasis, and by placing these related parts on the same pitch.

Parenthetical expressions, intermediate matter between

the essential parts of a sentence, and, usually, relative clauses, are to be subordinated by reading on a lower pitch with increased rate of utterance. Occasionally, the rate is slower for impressiveness.

The old idea in current discourse is to be slurred also.

"When, therefore, the Lord KNEW how the Pharisees had heard that Jesus made and baptized more disciples than John (though Jesus himself baptized not, but his disciples), he LEFT Judea, and departed again into Galilee."

"JOSEPH, who happened to be in the field at the time, SAW the carriage approach, and in an ecstasy of delight, HASTENED to meet it."

The parts in small capitals in the above examples are to be related by pitch and emphasis, just as though the direct current had not been crossed by other streams. The words in italics are to be given on a lower pitch, and in more rapid movement. These are, of course, expressions of the strongest contrast. The finer shades of relation must first be clearly distinguished by the mind, and then the organs of expression must be trusted to render them.

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Faults. I. Too frequently allowing the voice to make a cadence where the thought is not completed.

2. Uttering parenthetical matter on the same pitch, and at the same rate as the direct current of thought.

3. Emphasizing the old idea.

Practice.

I. Construct the language so that the relatedparts may not be so complicated as to make it difficult to express them vocally.

2. Carefully study the writing in the light of emphasis, as well as grouping.

3. Practise reading complex and compound sentences, separating the principal parts and reading them, then adding the subordinate parts, and reading them in construction with the whole sentence.

Climax.-There is an oral as well as a rhetorical climax. There is a climax of the discourse as a whole, a climax of

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