bined with another mark, thus, (:) which would signify low and slow. I beg leave to add, that as the utility of this notation may be doubted by some, and as I am not sanguine respecting it myself, it is suggested only as an experiment, on a most difficult branch of elocution. If applied with judgement, it may be useful; and it will at least be harmless to those who choose to pass it by.* I proceed now to explain myself more fully on the subject of vocal transition, admonishing the reader, that, in the examples, and in the Exercises, a word in Italic has the common emphasis, while small capitals are occasionally used to denote a still more intensive stress. Any one who has a good command of his voice, can use it with a higher or lower, a stronger or feebler note, at pleasure. This distinction is perfectly made, (as I have said before,) even by a child, in speaking to one who is near, and to one who is distant. In rhetorical reading, when we pass from simple narrative to direct address, especially when the address is to distant persons, a córrespondent transition of voice is demanded. Many examples of this sort may be found in the Paradise Lost, from which the following are selected :' -The cherubim, Forth issuing at the accustom'd hour, stood arm'd * Since the first edition was published, I have become satisfied that no part of the book is more adapted to be useful than this. Every reader of taste will perceive, that the three last lines, in this case, must be spoken in a much bolder and higher voice than the preceding. Another fine example may be seen in the sublime description of Satan, which ends with a speech to his associates, full of authority and reprehension. It is so long, that I shall give only parts of it, sufficient to show the transition.. (..) He scarce had ceas'd, when the superior fiend Was moving tow'rd the shòre; his pond'rous shield, Behind him cast; the broad circumference -on the beach Of that inflamed sea he stood, || and call'd His legions, angel forms; He call'd so loud, that all the hollow deep Of hell. resounded. (0°) Princes,-Potentátes, WA'RRIORS! | the flower of heaven, once yours, now lòst ·· Eternal spirits. Here again, where the thought changes, from description to vehement address, to continue the voice in the simple tones of narrative, would be intolerably tame. It should rise to a higher and firmer utterance, on the passage beginning with, "Princes,-potentates," &c. In these cases, the change required consists chiefly in key and quantity. But there are other cases, in which these may be included, while the change consists also in the qualities of the voice. 1 It was remarked [10] p. 54, that tender emotions, such as pity and grief, incline the voice to gentle tones, and the rising slide; while emotions of joy, sublimity, authority, &c. conform the tones to their own character respectively. It is where this difference of emotion occurs in the same connexion, that the change I have mentioned in the quality of voice, is demanded, analogous to the difference between plaintive and spirited expression, or piano and forte, in music. To illustrate this I select two stanzas from a hymn of Watts, and two from a psalm; one being pathetic and reverential, the other animated and lively. These stanzas I arrange alternately, so as to exhibit the alternation of voice required by sentiment.* (°) Alas! and did my Saviour bléed ? And did my Sovereign die ? Would he devote that sacred head, For such a worm as 'I? (0°) Joy to the world !-the Lord is come! Let every heart prepare him room, And heav'n and nature sing. (0) Was it for crimes that I had done, Amazing pity! grace unknown! And love beyond degree! (00) Joy to the earth! the Saviour reigns! Let men their songs employ ; While fields and floods, rocks, hills, and plains, Repeat the sounding joy. * In the first and third, the voice should be plaintive and soft, as well as high. In the following example, we see Satan lamenting his - loss of heaven, and then in the dignity of a fell despair, invoking the infernal world. In reading this, when the apostrophe changes, the voice should drop from the tones of lamentation, which are high and soft, to those which are deep and strong, on the words, " Hail, horrors," &c. (°) Is this the region, this the soil, the clime, That we must change for heav'n? This mournful gloom|| Where joy forever dwells. Infernal world! And thou, Farewell, happy fields, (0) Haìl horrors! HàIL, Receive thy new possessor! one who brings 26] SECT. 8.-Expression. This term I use, in rather a limited sense, to denote the proper influence of reverential and pathetic sentiment on the voice. A partial illustration of this has been given in the foregoing section, but its importance calls for some additional remarks. There is a modification of voice, which accompanies awakened sensibility of soul, that is more easily felt than described; and this constitutes the unction of delivery. Without this, thoughts that should impress, attract, or soothe the mind, often become repulsive. I have heard the language of our Lord, at the institution of the sacramental supper, read with just those falling slides on a high note, which belong to the careless, colloquial tones of familiar conversation, thus; "Take, eat ;--this is my bòdy." Even the Lord's prayer, I have sometimes heard read with the same irreverent familiarity of manner. This offence against propriety, becomes still more violent, when the sentiment is not only solemn but pathetic, requiring that correspondent quality of voice, to which I have repeatedly alluded. Should I attempt fully to explain the principles on which this pathetic quality of the voice depends, it would lead us into a somewhat extended view of the philosophy of emotion, as connected with modulation of speaking A few remarks, however, must suffice. tones. The fact cannot have escaped common observation, that sorrow, and its kindred passions, when carried to a high pitch, suspend the voice entirely. In a lower degree, they give it a slender and tremulous utterance. Thus Aaron, when informed that his two sons were smitten dead, by a stroke of divine vengeance, "held his peace." The emotions of his heart were too deep to find utterance in words. The highest passion of this sort, is expressed by silence; and when so far moderated, as to admit of words, it speaks only in abrupt fragments of senHence it is that all artificial imitation, in this case, is commonly so unlike the reality. It leads to metaphors, to amplification and embellishment, in language, and to either vociferation or whining in utterance. Whereas the real passion intended to be imitated, if it speaks at all, speaks without ornament, in few words, and in tones that are a perfect contrast to those of declamation. This distinction arises from those laws of the human mind, by tences. |