VOCAL CULTURE. 20 29 But when this stress falls on words beginning with consonants, the effect upon the ear is not so sharp and incisive. The Radical Stress is used in abrupt and startling emotions, and in the expression of positive and decisive convictions. This stress is not always used in a violent manner. 1. Arm, arm, and out! Examples. 2. I have but one lamp by which my feet are guided; and that is the lamp of experience. I know of no way of judging of the future but by the past. MEDIAN STRESS. In Median Stress, the force is applied so as to swell out the middle of the sound. The long vowels afford exercises in this as well as in Radical Stress. The proper application of the Median Stress is one of the most refined and delicate beauties of utterance. A due degree of it in ordinary conversation distinguishes the man of culture from the boor. Examples. 1. O precious hours! O golden prime, 2. Had I not, by deeply pondering the precepts of philosophy, and the lessons of the historian and the poet, imbued my mind with an early and intimate conviction that nothing in life is worthy of strenuous pursuit but honor and renown, and that, for the attainment of these, the extremes of bodily torture, and all the terrors of exile and of death, ought to be regarded as trifles, never should I have engaged in such a series of deadly conflicts for your safety, nor have exposed myself to these daily machinations of the most profligate of mankind. VANISHING STRESS. Vanishing Stress is that in which the force of utterance is withheld until the vanish or close of the sound is reached, ending suddenly, with percussive force. Example. Fret till your proud heart breaks; Go, show your slaves how choleric you are, COMPOUND STRESS. Compound Stress is that in which the voice touches forcibly on the initial and final parts of the sound, but passes lightly over the middle portion of it. It is generally used to express a complication of emotions, as of surprise, indignation, and anger. Example. Gone to be married! gone to swear a peace! It cannot be; thou dost but SAY, 'tis so. TREMOR OR INTERMITTENT STRESS. Tremor or Intermittent Stress consists of a tremulous iteration of sound, or a number of short impulses resembling a wave. The voice trembles in the natural expression of feebleness, grief, old age; and in any excessive emotion of whatever nature. Skillfully and delicately used, the tremor gives extreme effect to many emotional passages; but the excess of it greatly mars the effect of delivery. Examples. 1. Oh! I have lost you all! Parents, and home, and friends. VOCAL CULTURE. 2. Go, preach to the coward, thou death-telling seer! Draw, dotard, around thy old wavering sight, 3. My mother, when I learned that thou wast dead, QUANTITY OR MOVEMENT. 31 By Quantity, in reading or speaking, is meant the length of time occupied in uttering a syllable or word. LONG QUANTITY. The day is cold, and dark, and dreary; MEDIUM QUANTITY. When I was but an infant, tossed And oft I've looked in youthful pride, And though I've wandered far from it, SHORT QUANTITY. Quick! man the life-boat! See yon bark, There's a rock ahead, the fog is dark, Can human power, in such an hour, Her main-mast's gone, but she still drives on The life-boat! Man the life-boat! Nothing will compensate for inappropriateness in the rate of uttering a given passage. As the stately march of the solemn procession and the light trip of the joyous child are indicative of the states of mind which prompt them, so the movement which is proper in reading depends upon the emotion intended to be expressed. If the reader should ask himself what would be his manner of walking while under the influence of any particular emotion, it would be a safe guide to his rate of utterance. Animated and playful moods would manifest themselves in a light and buoyant step, sometimes tripping and bounding along. On the contrary, deep emotions of solemnity and awe can exist only with very slow movements. Dignity requires in its expression not only slowness but regularity of movement. Violent passion gives rise to irregular and impulsive speech. To this end practice should be had in reading with great precipitation, without losing a single syllable. Extreme slowness of utterance is very impressive when rightly applied, and the pupil should spare no pains to acquire this grace. BREATHING. Much of the success in reading or speaking depends upon breathing, as no one can read or speak well who cannot breathe well. The exercises under Vocal Culture which are to aid breathing, as designated there, should be faithfully practiced by any who feel a deficiency in this direction. In practicing the development of breathing, always prefer a standing position to a sitting position, and let the action bring forth a natural but deep breathing. Practice inflating and inhaling the lungs until this can be done quite rapidly. A good practice is to inhale deeply and give out the voice slowly in prolonged vowel sounds. AH Fig. A 00 Is effected by the action of the palate, tongue, lips, and jaws. The action must be neat, easy, and prompt, that perfect articulation may be made. A full and elastic command of the muscles of the mouth is highly necessary for the most distinct utterances. The exercise, as illustrated in Fig. A, will be found very beneficial in acquiring proper articulation, and free and full command of the muscles of the mouth and face. First. Pronounce the vowel 2, extending the lips as much as possible sidewise, and showing the tips of the teeth. Second. Pronounce ah, dropping the jaw and opening the mouth to its widest extent. Third. Pronounce oo (as in cool), contracting the lips. |