opposite pole to that of deep passion, which is not merely lowpitched, but designedly resounds in the thoracic cavity, and by its hollow "pectoral" effect, seems to emanate from the chest. It indicates, thus, to the ear the presence, as the "oral quality does the absence, of a deep inward movement of feeling. — The effect of the “ oral quality,” as a part of the emphasis of intellectual distinctions, may be ascertained by the student for himself, if he will utter the words "now" and "then" in the preceding passage, first, with "low pitch," and deep “pectoral " murmur, and, afterwards, with "high pitch,” and thin “oral” enunciation. A similar analysis may be made on all the constituent elements of unimpassioned emphasis, as enumerated in this paragraph. The reason why, in our analysis of elocution, the consideration of emphasis was postponed to other topics, will now be distinctly perceived. The appropriate study of emphasis, requires a knowledge of its various constituents. But the previous discussion and exemplification of these, renders the separate practice of each, under the denomination of emphasis, unnecessary. It will be sufficient, here, to present a few examples of emphasis, for practical analysis, classified in such a manner as to suggest to the student and the teacher the modes of practice best adapted to produce a distinct, impressive, and discriminating emphasis. It will give additional value to all exercises in emphasis, if the examples are thoroughly analyzed, so as to exhibit all the properties of elocution comprised in each. It becomes necessary, once more, to drop, here, a suggestion on the effect of practice, — that, in the first course of exercise, the full force of emphasis, in all its characteristics, is the object to be kept in view, so as to gain the power of throwing out the utmost expressive force, when impassioned utterance requires it; but that a subsequent course should be carefully added, so as to bring down and soften the emphasis of unimpassioned language into a quiet and moderate style of expression, marked by chaste and manly reserve. -Our current style of professional reading is justly complained of by foreigners, as being mechanical and studied in its emphasis; and our popular oratory, as characterized by violence rather than genuine force. Earnestness, it is true, is the soul of eloquence; but it rarely authorizes vehemence, and never vociferation, a habit which for the time, degrades man from his rational elevation of humanity to the level of animal life. Emotion, the true source of impassioned emphasis, may be, in the highest degree, vivid, without being turbulent. EXAMPLES OF EMPHASIS. I. — Impassioned emphasis. Fierce Anger and Defiance. [Coriolanus, enraged by the accusation of the Tribunes.] ("Aspirated guttural quality": "Impassioned" and increasing "Expulsive force: "Compound and thorough stress": "High and progressively rising "pitch": Downward "third," and "octave in the "slide": "Emphatically "slow movement.") "Call me their traitor! — Thou injurious tribune! Revenge. [Othello, instigated by Iago, against Cassio.] fifth," " "Ex ("Aspirated pectoral quality": Intensely "Impassioned "Oh! that the slave had FORTY THOUSAND lives! Anger and Threatening. [Coriolanus, to the Roman soldiers when repulsed.] ("Aspirated guttural quality": "Impassioned" force: "Vanishing, radical," and "median stress":"High pitch":"Downward" "slide" of the fifth: "Movement first "slow," then "quick.") "You souls of geese, That bear the shapes of men, how have you run From slaves that apes would beat! — PLUTO and HELL! All hurt behind; backs red, and faces pale With flight and agued fear! — MEND, and CHARGE HOME, And make my wars on YOU: look to 't: COME ON!" Defiance. [Edmund, in Reply to Albany.] ("Orotund quality": "Impassioned" force: "Thorough stress "Middle pitch": Downward " fifths Deliberate : move ment.") "What in the world he is, That names me traitor, villain-like he LIES: Emphasis of Designation. [Description of a Bookseller's Literary Dinner.] "The host seemed to have adopted Addison's idea as to the literary precedence of his guests. —A popular * pòet had the post of honor; opposite to whom was a hot-pressed traveller in quarto, with plates. A grave-looking àntiquary, who had produced several sòlid works, that were much quòted and little réad, was treated with great respect, and seated next to a neat, dressy gentleman in black, who had written a thin, genteel, hot-pressed octavo on political economy, that was getting into fashion. Several three-volume-duodècimo men, of fair currency, were placed about the centre of the table; while the lower end was taken up with small poets, translàtors, and authors who had not as yet risen with much notoriety." Emphasis of Comparison and Contrast in Equal and Single Parts. "The thigh and the low, the rich and the póor, approach, in point of real enjoyment, much nearer to each other, than is commonly imagined. Providence never intended that any state here Usually, a downward slide of the second accompanies the "emphasis of designation." In the parallel or antithesis of equal and single parts, the slides exhibit the intervals of the upward and downward "third." should be either completely happy, or entirely miserable. If the feelings of pleasure are more numerous and more lively in the higher departments of life, such also are those of pain. If greatness flatters our vánity, it multiplies our dùngers. If opulence increases our gratificátions, it increases, in the same proportion, our desires and demands. If the poor are confined to a more nárrow circle, yet within that circle lie most of those natural satisfactions, which, after all the refinements of art, are found to be the most genuine and trùe.” [Comparison and Contrast in Equal and Double Parts.] "In * Homer, we discern all the Greek vivácity; in Virgil, all the Roman stàteliness. Hòmer's imagination is by much the most rich and cópious; Virgil's the most chaste and correct. The strength of the fòrmer lies, in his power of warming the fancy; that of the latter, in his power of touching the heart. Homer's style is more simple and ánimated; Virgil's more elegant and uniform. The first has, on many occasions, a sublìmity to which the latter never attains; but the latter, in return, never sinks belów a certain degree of epic dignity, which cannot so clearly be pronounced of the fòrmer. [Comparison and Contrast in Unequal Parts.] "Better be Where the extinguished Spartans still are free, [Phrases of Successive Emphatic Words. "The British army, traversing the Carnatic, after the desolation effected by Hyder Ali, beheld ‡ nót òne líving thìng, nòt óne màn, not one wòman, not one child, not one four-footed beast, of any description whatever." § *In contrasts of double parts, the primary members have the "slide" of the "third"; but the inferior ones that of the "second." + The preponderant member has the downward, the weaker, the upward "slide." In emphatic phrases, every word takes a distinct and opposite "slide." § The subjects of "slide," ("inflection,") "rhetorical" pause, emphasis, and the other grammatical and sentential parts of elocution, are dis III." Arbitrary Emphasis." The form of utterance to which this designation may be applied, is that "expression or significance, whether of loudness, pitch, "time," "melody," or other property of vocal effect, in consequence of which the sense, or the connexion and structure, of the parts of a sentence, may be rendered apparent by modification of voice, applied extemporaneously, during the moment of reading, at the discretion and by the will of the reader, rather than in compliance with any general rule of feeling or of elocution. This "arbitrary emphasis" is greatly aided in its effect by a corresponding abatement or depression of effect, in clauses which precede or follow the word or phrase of "arbitrary emphasis," or which occur between two such words or phrases. This "discharging " of "expression," as it may be termed, in reference to the analogous process of discharging ink or color from the surface of an object, will, of course, take place by a reduction, abatement, or depression, of one or all the elements of vocal effect. The arbitrary emphasis " may, at the pleasure of the reader, heighten the "expression" arising from "quality," force, "melodial phrase,' slide," "time," quantity, movement," &c. so may the "reduction " of emphasis, diminish or subdue, or destroy any or all of these. pitch, 66 66 66 66 Arbitrary emphasis,' " and "reduction," may be employed where but a single parenthetic word intervenes to break the current of language; as in the sentence, "The sprout was carefully protected by a stratum, or layer, of leaves." The words 66 stratum " and "leaves " are, in this instance, pronounced with a slight additional force, an enlarged interval of "slide" and prolonged "quantity; " while the words "or layer are reduced in force, shortened in "quantity," and leveled into "monotone," in the manner of parenthesis. The following example will exhibit the same effects more distinctly; as poetic language is naturally more expressive than prose. "On the other side, Incensed with indignation, Satan stood The arrangement of the words, in this sentence, throws the cussed at greater length in the "Elocutionist." The present work is designed as a manual of elementary practice in orthophony, and is limited, chiefly, to examples and exercises. *The crotchets of parenthesis are introduced here, not as belonging to the text, but as an ocular aid, with a view to suggest the proper style of reading, to the ear. |