II.—" Trochaic" Metre. "Softly sweet, |♬ in | Lydian | measures, | ▼ III. —“ Anapæstic" Metre. 1. Lines of Three “ Anapæsts.” “How | fleet | ♬ is a | glance of the | mind! ||99| 2. Lines of Four " Anapasts.” "The evening | was | glorious; | and | light |♬ through the trees || Played the sunshine | and | raindrops, the birds and the breeze; | The landscape lay || il outstretching in | loveliness, | On the | lap | of the year, |in the| beauty | of CHAPTER IX. EMPHASIS AND EXPRESSION. THE analysis of elocution has, in the preceding chapters, been extended so far as to comprehend all the chief topics of practical elocution. The subjects of emphasis and “expression,” have been reserved for the conclusion of this manual; as they properly comprise a virtual review of the whole subject. I.-Impassioned Emphasis. Emphasis, in its usual acceptation, is limited to mere comparative force of utterance on an accented syllable. The term, properly defined, extends to whatever expedient the voice uses to render a sound specially significant or expressive. Thus, in the scornful challenge which Bolingbroke addresses to Mowbray. "Pale, trembling COWARD! there I throw my gage: The emphasis lies, doubtless, on the word coward, and is concentrated in the syllable cow-, by peculiar force of utterance. But the mere force or loudness used, is only one of the many elements of expression, which the syllable is made to comprise, in the intensely excited passion implied in the words. Attentive analysis will show that, in what is termed "emphasis," in this instance, there are included all of the following elements of vocal effect: 1st, the mere force or energy of the utterance, which produces the loudness of voice that accompanies violent or vehement excitement of feeling; 2d, the abrupt and explosive articulation with which the accented syllable is shot from the mouth, in the expression of anger and scorn; 3d, the comparatively low pitch on which the syllable cow- is uttered, as contrasted with the high note on the opening word "pale," and which indicates the deep-seated contempt and indignation of the speaker; 4th, the comparatively long duration of the accented syllable, and the consequent effect of deliberate and voluntary emotion, as contrasted with the rapid rate of hasty and rash excitement; 5th, the downward" slide," "the inseparable characteristic of all impetuous, violent, and angry emotion; 6th, the "pectoral," guttural," and strongly aspirated quality "of voice, with which the utterance seems to burst from the chest and throat, with a half-suffocated and hissing sound, peculiarly characteristic of fierce and contemptuous emotion. 66 66 66 It may appear, at first view, that this analysis extends beyond emphasis into expression.' But emphasis is, in fact, nothing else than “expression," concentrated and condensed into an accented syllable. For confirmation of this assertion we may refer to the result, in cases of acknowledged imperfect emphasis, that a failure, as regards the full effect of any one of the above elements, produces the fault. Let the student himself bring the matter to the test of his own observation, by uttering the word 86 coward," six times in succession, dropping, each time, one of the elements of “expression,” enumerated in the preceding analysis; and he will perceive that he loses, in every instance, the emphasis of impassioned accent. Similar illustrations might be their best clothes for Sundays; the puny pedant, who finds one undiscovered quality in the polypus, or describes an unheeded process in the skeleton of a mole, and whose mind, like his microscope, perceives nature only in detail; the rhymer, who makes smooth verses, and paints to our imagination, when he should only speak to our hearts; all equally fancy themselves walking forward to immortality, and desire the crowd behind them to look on. The crowd takes them at their word Patriot, philosopher, and poet!' are shouted in their train. 'Where was there ever so much merit seen? no times so important as our own! ages, yet unborn, shall gaze with wonder and applause!' To such music the important pigmy moves forward, bustling and swelling, and aptly compared to a puddle in a storm." 3.- Didactic Style. [Absurdity and Impudence.] "Moderate 99 ("Pure tone": force: 66 Unimpassioned radical stress : "Middle pitch": Varied "slides": Short pauses.) "If we would examine into the secret springs of action, in the impudent and the absurd, we shall find, though they bear a great resemblance in their behavior, that they move upon very different principles. The impudent are pressing, though they know they are disagreeable; the absurd are importunate, because they think they are acceptable: impudence is a vice, and absurdity a folly. Sir Francis Bacon talks very agreeably upon the subject of impudence. He takes notice, that the Orator being asked, what was the first, second, and third requisite to make a fine speaker? still answered, Action. This, said he, is the very outward form of speaking; and yet it is what, with the generality, has more force than the most consummate abilities. Impudence is, to the rest of mankind, of the same use which action is to orators." 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 " " 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. now 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. 3.- Bold Address. [The Gheber to his followers.] (Courage, Revenge." Explosive orotund, aspirated quality": "Impassioned" force: "Radical stress": High pitch": Varied "slides": Short pauses.) 66 "What! while our arms can wield these blades, Shall we die tamely? die alone? Without one victim to our shades, One Moslem heart, where, buried deep, "And gaiety on restless tiptoe hovers, Masks of all times and nations, Turks and Jews, |