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There
There

had the | Persian's | thousands | stood, |

had the | glad | earth | drunk their | blood |

| On | old Pla- | tæa's | day: |

And now

The sons

there | breathed that | haunted | air ♥ |

of | sires who | conquered | there, I With | arm to strike | and | soul to | dare, | As | quick♥♥ as

far as they. 1991

d. Observe that sometimes, as after throne, thoughts and now, in the last example, the pause, suggested in the first place by the requirements of rhythm, is made very long. For the sake of emphasis, the voice rests during the time necessary for the utterance not alone of one or two syllables, but in some cases of half-a-dozen syllables.

e. Observe also that when, instead of merely ceasing to make a sound, the voice fills up the interval of time by dwelling on a word (as, in the last example, on Greece, tremble, throne and now), this action is accompanied by a decided change in pitch (e. g. Greece and tremble), or in force (e. g. throne and now); and that, wherever there is a change in these, the very effort made in causing the voice to glide from one pitch to another, or to be expelled from the lungs with more force, has a tendency to produce a change in its volume. Accordingly we see that wherever emphasis and rhythm do not coincide, a judicious use of the elements that enter into both can make them coincide. Enough has been said to show why

29. The Elements of Emphasis are,

Time, determined by the relative rapidity with which words are uttered;

Pitch, by the relative position of the sounds on the musical staff, whether high, or low,

medium,

Force, by the relative energy with which the breath is expelled from the lungs ; and,

Volume, by the relative degree in which the breath is vocalized and made resonant.

These elements admit of subdivision according to the following principle:

30. In Emphasizing Single Words by means of a change

a. In Time, a Pause, marked | |, is used after, before or on a

word. The manner of pausing is determined largely by what is termed the Quantity of time that can be given to the utterance of the word.

b. In Pitch, an Inflection, or, if we refer to the movement of the voice in producing this, a Slide is used, termed downward or falling (§ 13), marked `; upward or rising (§ 13), marked'; and a circumflex or wave, if it moves in both directions. The wave is termed (from the way in which it ends) falling, marked ^^, or rising, marked (§ 13).

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c. In Force, Special Force is used; and the manner of using this depends on the kind of Stress that is given to a syllable. The different kinds of stress, determined by the place in the syllable on which the chief energy is expended, are initial >, terminal <, median, compound ><, thorough and tremulous ~. (See §§ 15, 99-105.)

d. In Volume, there is no special term used for a slight change. It is said to be thin or full. When the change is great, and not only in degree but in kind, there is a difference in Quality.

31. In Emphasizing Consecutive Words by means of a change

a. In Time, we find, corresponding to long or short pauses, slow or fast Movement; e. g.

Slow.

A soldier of the Legion || lay dying | at Algiers; |

There was lack of woman's nursing, there was lack of woman's | tears.

Fast.

I sprang to the saddle, and Joris, and he; |

I galloped, | Dirck galloped, | we galloped all three.

b. In Pitch, corresponding to long or short slides, together with their influence on intervening syllables, we have varied or unvaried Melody, and also (as the speaking voice is naturally low, and, therefore, varied mainly through introducing the high tones) an associated high or low Key.

c. In Force, corresponding to the different degrees and kinds of special force and stress, we have loud or soft, abrupt or smooth General Force; divided again, according to one's mode of vocalizing, into sustained, natural and suppressed force, and, according to one's mode of emitting the breath, into explosive, expulsive and effusive force.

d. In Volume, we have changes in degree, or in kind; in the latter case necessitating changes in Quality.

32. The Significance of the Elements of Emphasis must be determined, in all cases, by the object in view, or by the effect produced when using any given element.

Time. When a speaker pauses or lingers on a word or phrase, he does so that he himself, or that others, may have more time in which to think of it. The giving of a different relative time to different words causes, in poetry, what is termed metre or measure. We may take a hint from this term, and say that the relative time apportioned to a word indicates the mind's measurement of it,-represents the speaker's judgment as to the amount of meaning or importance that it conveys.

Pitch. When, either abruptly, as in the emphatic slides, or gradually, as in unemphatic passages, the voice passes up or down the scale, or continues on one key, it does so because the mind of the speaker is impelled to open, close or continue the consideration of an idea that has been broached (§ 43). The melody of the movement taken by the voice represents, therefore, like melody in music, the mind's motive,-indicates its purpose in using the particular phraseology to which the melody is applied; and because pitch, through the kinds of inflections and melody chosen, reveals the motives, we shall find that the use of this element in ordinary conversation is constantly causing precisely the same phraseology to express entirely opposite meanings (§§ 53–66).

Force. When one uses different degrees and kinds of force with a word, he does so because he conceives that, in connection with the idea that it expresses, there is more or

as

less demand for exertion. Hence, Force indicates the mind's activity, represents the kind or degree of mental energy. Volume. When natural causes have such an effect upon utterance as to close, choke or expand the throat in whispering, the guttural sound, or wailing,—it is because one's excitement, one's feelings, have mastered him. Volume, or the qualities of the voice, therefore, which are determined by just such actions of the throat, represent the degree or kind of mental feeling.

Of course, to some extent, all the departments of mind are enlisted in the use of each of these elements of emphasis; but when considering that which each is particularly adapted to represent, it may be said that time represents the judgment, pitch the motives, force the energy, and the quality of voice the feelings.

Besides this, it may be said that while the special emphasis used with an individual word represents some special conception of the speaker with reference to it, the general emphasis given to clauses and sentences represents the combined influence of many special conceptions, i.e. his general state of mind, or his moods.

If a special utterance is conceived of as in itself final or decisive, i.e. interesting, important, noteworthy, affirmative, positive, or if the general mood expressed in the utterance is serious, grave, dignified or self-determined, the judgment, first of all, measures, then the motives direct, and in case there is demand for it the energies push and the feelings qualify the idea as something to be emphasized, because (§ 18) it introduces importance, information or peculiarity into the general sense. This emphasis for important ideas is given by the use of slow time, low unvaried pitch, loud or else abrupt force, and full volume. Opposite conceptions and states

are expressed, of course, in opposite ways. These principles, which there is no necessity of stating again under each separate head of time, pitch, force and volume, will be unfolded and explained in the consideration of these elements that is to follow.

33. The Diagram on the Elements of Emphasis in Combination (§§ 140).

In this, the facts jus. stated are presented in such a way as to show at a glance what the elements of emphasis are, and also that similar conditions influence them similarly. The student who has come to understand the principles underlying the diagram, and can apply them to his delivery, has mastered the main difficulties of our subject.

34. Methods of Studying the Elements of Emphasis. Beginners should first learn § 201, and what is printed in large type, and enough that is in the fine type to enable them to understand the principles in the large type,-under the heads of Elocutionary Pauses (§§ 35–39), Movement (§§ 40-42), Inflections (§§ 43– 74), Starting Key of the Slides (§§ 75-77), and Key (§§ 96, 97); then they can turn to the diagram (§§ 140), and, in connection with this, study Transitions (§§ 147–151), and Massing (§§ 152, 153). Only after this need their attention be directed to Stress (§§ 98-105), and still later, in connection with vocal culture, to General Force (§§ 106–115), Quantity (§ 39), Quality (§§ 121–137), and Melody (§§ 78-95). See also § 6 of Preface, and §§ 201, 203, 204.

TIME.

ELOCUTIONARY PAUSES.

35. Elocutionary Pauses, with cessations of sound, should be made before or after; or the voice should dwell on all words that introduce into the general sense special importance, information, or peculiarity. (§§ 18, 32, 140.)

a. Pauses are not often made before words, because most of these are preceded by an article, preposition or qualifier that cannot, except for extraordinary emphasis, be separated from them; e. g. One half | of the whole | was the whole | of his claim.

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