GENERAL RULE.· -Do not pervert, nor omit without good authority, MOVEMENT OF THE SPEAKING VOICE. The speaking voice differs from the singing voice only in this: In singing, the voice is stationary on a given note for a definite time. In speaking, it is not stationary, but moves upward and downward to express sense. If it moves in straight lines, it is sound without sense. This may be exemplified as follows: When the letter i, as heard in the word eye, is pronounced as an alphabet letter, without emotion, there will be two sounds heard in close succession. The first has the sound of a, in at (which is the third vocal element,) and the second, of e, in he; a-e-ae-ae-ay-i. The first element is made to issue from the organs with a degree of fullness and force, while the second is made by a gradually diminishing sound, vanishing into silence. During the pronunciation, the voice gradually rises or slides upward through the interval of a tone; the beginning of the a and the termination of the e being severally the inferior and superior extremes of this tone. This may be proven by any one who is able to sound the diatonic scale discreetly. Let him commence with a, and strike the several points of this scale, by the alternate use of a and e, drawing out each as a note, and making a palpable pause between the sounds. This will make him familiar with the effect of these letters, when heard on the extremes of a tone. Then let him rise, by a slide of the voice, (or concretely,) through the several places of the scale, making the several points of a strongly, and e faintly, by the alternate use of a and e. This movement will make him familiar with the concrete rise of a tone. Now, in repeating the a and e on the two first points of the scale, let the sound of the a be continued up till the voice reaches the e, and the stress on the e be gradually diminished into silence, and he will perceive this diminishing e to be the end of the sound, and also one tone in pitch higher than the commencing a. This movement of the voice is called a concrete rise of a second or tone. With a view to distinguish more definitely this movement of the voice, the first position, or that heard on the a in the above instance, is called the Radical, or the Radical Movement, or the radical part of the movement, because it opens or begins with a sudden fullness, on some given place of the scale, as from a base or root. That portion which follows or rises from the radical, or extends upward into the e, is called the Vanish, or the Vanishing Movement, or the vanishing part of the movement, from its becoming gradually weaker and weaker, and finally vanishing away into silence, in the upper extreme of the tone. When any one of the alphabetic elements (except the aspirs) is uttered with propriety and smoothness, and without any emotion, it commences with an abrupt fullness, and gradually decreases in its upward movement, through the interval of a tone, having the increments of time and rise, and the decrements of fullness and force, equably progressive. The following diagram may illustrate this important function of the voice-the radical and vanishing movement: Nos. 1 and 2, in the above diagram, represent the rising, and Nos. 3 and 4 the falling concrete of the voice; or the upward and downward vanish. The falling concrete is produced by the voice in the same manner as the rising, only the direction is downward; commencing with the radical fullness on the upper line, or higher pitch, and equably diminishing downward into silence, through the interval of a tone on the lower line, or on a lower degree of pitch. This important function of the speaking voice is not applicable to the interval of a tone only, but is equally applicable to every interval of the scale, from a semitone to an octave, or more if necessary. This concrete function of the voice is not only applicable to the simple elements of speech, but also to every syllable, for the uttering of any syllable is but the performance of this concrete function on that syllable. It is the performance of the radical and vanish, or concrete function, on any number of alphabetic elements, that unites these elements, by one effort of the voice, into syllables; for any number of letters which can be sounded by the use of this concrete function, constitutes a syllable. Words may, then, be divided into syllables, by the application of the radical and vanishing movement of the voice on them. The vowel elements are those best adapted to display the radical and concrete movement of the voice, on every interval, from the semitone to the octave. Therefore, the opening fullness of the radical is uniformly heard on the vowel element of a syllable. The "tone" of the uncultivated speaker, which rises to a "sing-song" meaningless noise, is caused by violating this fundamental law of the speaking voice. ELEMENTS OF EXPRESSION. Elocution has two kinds of elements to treat of; and they are very different from each other in their nature and application. The first are those by the use of which articulation is made clear, smooth, and distinct. These are elements of simple utterance. This is the ground work upon which the superstructure of our language is reared. We hope the student has thoroughly mastered these elements, as we now present a second class of elements. We may, by the use of these elements, give very different meanings to our words, or to any given sentence, according to the application of any one, or any number of them, or any one of its words, or any number, or all of them. Take the sentence "Thou art a man." When delivered in a cool and deliberate manner, it is a very plain sentence, conveying no emotion, nor emphasis, nor interrogation. But when one of the words is emphasized, the sense will be very different from what it was in the first instance; and very different, again, when another word is made emphatic; and so, again, whenever the emphasis is changed, the meaning is also changed: as, "THOU art a man." That is, thou in opposition to another, or because thou hast proved thyself to be one. "Thou art a MAN." That is, a gentle“Thou ART a man." That is, in opposition to "thou hast been a man," or "thou wilt be one." "Thou art a man.' That is, in opposition ་་ man. to the man, or a particular man. Then, again, the sentence may be pronounced in a very low tone of voice, and with force or without force. It may be raised to a fifth above the low tone, uniting a good deal of stress, or without stress; and then, again, it may be heard on an octave, with the greatest force, or with moderate force. Each of these latter modes of intonation will make a very different impression on an audience, according to the employment of other elements of expression, with that of the general pitch. In addition to these, the sentence may be pronounced in a very low and soft tone, implying kindness of feeling. Then, in a whisper, intimating secrecy or mystery. It may be heard on the SEMITONE, high or low, to communicate different degrees of Pathos. And then, again, the TREMOR may be heard on one or all of the words, to give greater intensity to other elements of expression which may be employed. As, also, a GUTTURAL emphasis may be applied, to express anger, scorn, or loathing. These are some, only, of the different meanings which may be given to this sentence of four words by the voice. A good reader, or speaker, then, ought not only to be able to sound every word correctly; he ought to know, always, the EXACT meaning of what he reads, and feel the sentiment he utters, and also to know How to give the intended meaning and emotion, when he knows them. By practice upon the different exercises herein, the student will not fail to recognize the emotion from the sentiment, and will be able to give it. QUALITIES OF VOICE. By Quality of Voice is meant the kind of voice used to express sentiment. We make two general divisions of Quality: PURE and IMPURE. These may be subdivided into Pure, Deepened or Orotund Quality, Tremor Quality, Guttural Quality and Aspirate Quality. We represent these Qualities by a diagram, together with the emotions or ideas they express when used naturally. Enter into the spirit of what is read; as the emotions help to define the voices. It is difficult to separate these qualities of voice. Like the emotions, they shade into each other so much, that it requires long and patient study to express, with exactness, the ideas of an author. The Pure Quality is most used, and should be most zealously cultivated. It introduces all the other Qualities. Pure tone exists in two forms-subdued and moderate force: the former implying the repressing power of an emotion, which quiets utterance; the latter being, as its name implies, a medium of style. The elocutionary practice best adapted to the formation of pure and smooth quality of voice, in the “subdued” form, consists principally in careful repetition of the tabular exercises on the "tonic" elements of the language, and the utterance of syllables and words containing long vowels, and in the reading and recitation of passages of poetry marked by the prevalence of the expressive tones of pathos, solemnity, and tranquility, as here exemplified. The following exercises should be practiced with the closest attention to the perfect purity of vocal sound, as associated with the spirit of deep-felt but gentle emotion: UNEMOTIONAL. A GOOD daughter!- there are other ministries of love, more conspicuous than hers, but none in which a gentler, lovelier spirit dwells, and none to which the heart's warm requitals more joyfully respond. Joyous. You must wake and call me early, call me early, mother dear, |