In all cases, be careful to complete the gesture, where it is intended, at the instant of uttering the syllable or word; for, if it comes in before or lags behind the word, it will certainly detract from the effect. X. RHETORICAL PAUSES. Rhetorical Pauses are those which require a suspension of the voice in reading or speaking, although the construction of the sentence admits of no grammatical pause. The Rhetorical pause occurs, either directly before, or directly after the utterance of an important thought; and is found as frequently where there is not as where there is a grammatical pause.. In the following examples Rhetorical pauses are denoted thus (); but in general, the student must be guided by the sense. Examples. 1. And there lay the steed with his nostril all wide, But through them there rolled || not the breath of his pride, And cold as the spray|| of the rock-beaten surf. 2. The worst of slaves, is he || whom passion || rules. Which never ceaseth || to enlarge itself, Till, by broad spreading, it disperse || to naught. 4. There is a land || of every land the pride, Beloved by Heaven || o'er all the world beside, Oh, thou shalt find, howe'er thy footsteps roam, 5. No self-plumed vanity | was there, With fancy's consequence || elate; 6. You may as well | go stand upon the beach, Why he hath made the ewe bleat for the lamb; When they are fretted || with the gusts of heaven; As seek to soften || that, (than which, what's harder?) 7. Now the hungry || lion roars, And the wolf | behowls the moon; 8. Now the wasted || brands do glow, In remembrance || of his shroud. 9. She said and struck; || deep entered | in her side XI. EMPHASIS. Emphasis is that change, or modulation of voice, that renders whatever the speaker desires to utter clear and expressive. The various movements of the voice are given under Sweeps and Force, in Modulation. There can be no other special rules, except that the meaning of the selections to be rendered be carefully studied. XII. PARENTHESIS. The Parenthesis is generally delivered more rapidly, or in a more subdued tone than what precedes or follows it; and, if the Parenthesis follows a part of a sentence making imperfect sense, it terminates with the bend; otherwise with the Partial, or Perfect Close. Examples. 1. Know then this truth, (enough for man to know,) Virtue alone is happiness below. 2. I have seen charity (if charity it may be called) insult with an air of pity. 3. I am happy, said he (expressing himself with the warmest emotion), infinitely happy, in seeing you return. 4. Surely, in this age of invention, something may be struck out to obviate the necessity (if such necessity exist) of so tasking the human intellect. 5. Know ye not, brethren (for I speak to them that know the law), that the law hath dominion over a man as long as he liveth? XIII. STYLE. The student should never attempt to deliver any selection, until he first ascertains to what style it belongs. If it be 1. ARGUMENTATIVE, he must deliver it as if debating; therefore earnest. 2. DESCRIPTIVE, he must deliver it as if actually describing some scene. 3. PERSUASIVE, he must use those looks, tones, and gestures appropriately used in persuasion. XIV. THE PASSIONS. The student should always have his mind so wrought up to the proper pitch in which the passion should be rendered, that he may, with ease, be able to deliver it correctly. Great actors, before appearing in the character they are to personify, through force of will, work their minds up to the degree of passion required, and thus appear perfectly life-like. Elocutionists, also, in exhibiting some vehement passion to a class, have brought their minds to such a pitch of phrensy, as to be several hours in overcoming its effects. Students should always, before attempting to express one of the passions, carefully examine in what Tone, Key, Force, and Rate it should be delivered: finding these, adapt the voice and expression to it, and then deliver it. Examples. 1. "SCORN AND DEFIANCE." [Explosive Orotund, Middle Key.] FROM PARADISE LOST.-Milton. Satan, [to Death.] "Whence and what art thou, execrable shape! Thy miscreated front athwart my way To yonder gates? Through them I mean to pass,— 2. "WRATH AND THREATENING." Death, [in reply.] "Back to thy punishment, 1 Thy lingering, or, with one stroke of this dart, 3. "EXHORTING." [Expulsive Orotund, High Key.] But wherefore do you droop? why look you sad? Be great in act, as you have been in thought; Let not the world see fear, and sad distrust Be stirring as the time; be fire with fire; 4. "ANGER AND SCORN." [Explosive Utterance, Aspirated Tone, Low Key.] Thou slave! thou wretch! thou coward! To teach thee safety! Thou art perjured too, 5. "CAUTION." [Effusive Utterance, Pure Tone, Low Key.] Hush lightly tread! still tranquilly she sleeps ;I've watched, suspending e'en my breath, in fear To break the heavenly spell. Move silently! 6. "PITY." [Expulsive Orotund, Middle Key.] Oh! sailor-boy, woe to thy dream of delight! In darkness dissolves the gay frost-work of blissWhere now is the picture that Fancy touched bright, Thy parents' fond pressure, and love's honeyed kiss? Oh! sailor-boy! sailor-boy! never again Shall home, love, or kindred, thy wishes repay; Unblessed and unhonored, down deep in the main, Full many a score fathom, thy frame shall decay. No tomb shall e'er plead to remembrance for thee, Or redeem form, or frame, from the merciless surge; But the white foam of waves shall thy winding-sheet be, And winds, in the midnight of winter, thy dirge. 7. "UNRELENTING OBSTINACY." I'll have my bond; I will not hear thee speak: |