EXAMPLES FOR PRACTICE IN PITCH.'

I.

10. (As high as possible.)

"Strike for the sires who left you

free!"

2.

3.

9. (Extremely high.) “I repeat it, sir, let it come, let it

come!"

8. (Very high, spirited.) "Three millions of people armed in the holy cause of liberty."

6.

7.

8.

9.

IO.

(High.) "The sounding aisles of the dim woods rang." "With music I come from my balmy

(Rather high.)
home."

5. (Middle. Firm, natural.) "A vision of beauty appeared

4.

3.

(Rather low.) 'Friends, Romans, Countrymen !"

(Low. Modest.) "And this is the night! most glorious night!"

2. (Very low. Sublime.) "Roll on, thou deep and dark blue ocean,-roll!”

1. (As low as possible. Solemn.) "Eternity! thou pleasing, dreadful thought!"

NOTE.-The above examples for practice in Pitch, as well as the exercise in Rate, on page 87, are taken from Frobisher's "Voice and Action." They are recommended as excellent for the purpose for which they are designed.

EXERCISE IN INTERROGATION.
The Past-where is it? It has fled!
The Future? It may never come.
Our friends departed? With the dead.
Ourselves? Fast hastening to the tomb.
What are earth's joys? The dews of morn.
Its honors? Ocean's wreathing foam.
Where's peace? In trials meekly borne.

And joy? In Heaven-the Christian's home.

-Kidd's Elocution.

The following extract will be found valuable for practice in Rate. It is from Henry Bateman's "Ship on Fire."

The bright sun

Lights up the deep blue wave, and favoring breeze

Fills the white sails.

Fire!-Fire!-Fire!-Fire!

Scorching smoke in many a wreath,
Sulphurous blast of heated air,
Grim presentment of quick death,
Crouching fear and stern despair,
Hist, to what the Master saith,-

"Steady, steersman, steady there!"-Ay! ay!

"To the mast-head!"-it is done,

"Look to leeward!"-scores obey,

"And to windward!"-many a one

Turns, and never turns away;

Steadfast is the word and tone,

"Man the boats, and clear away!"-Ay! ay!

Then it comes,- "A sail! a sail !".

Up from prostrate misery,
Up from heart-break woe and wail,

Up to shuddering ecstasy ;

"Can so strange a promise fail ?"

"Call the Master, let him see!"—Ay! ay!

Silence! Silence! Silence !-Pray!

Every moment is an hour,

Minutes long as weary years,

While with concentrated power,

...

Through the haze that clear eye peers,―
"No,"—" Yes," "No,"—the strong men cower,
Till he sighs,-faith conquering fears,—“ Ay! ay!"

Pah!-a rush of smothered light

Bursts the staggering ship asunder,—

Lightning flashes, fierce and bright,

Blasting sounds, as if of thunder,—

Dread destruction wins the fight

Round about, above, and under.-Ay! ay!

I.

2.

EXERCISE IN RATE.

9. (As quick as possible.) "Quick as the lightning's flash that illumes the night."

8. (Very quick.) "Charge for the golden lilies, now, upon them with the lance !"

3.

7.

4.

6.

5.

(Quick.) "Hurrah! the foes are moving!"

(Rather quick.) "Wild winds and mad waves drive the vessel a-wreck."

5. (Medium Time.) "What stronger breast-plate than a

heart untainted!"

6.

7.

8.

9.

66

4. (Rather slow.) "Slowly and sadly we laid him down."

ལྷ་ .

(Slow.) "The bell strikes one! we take no note of time but from its loss."

2. (Very slow.) "Which, like a wounded snake, drags its slow length along.'

1. (The slowest time.) "Slow tolls the village clock the drowsy hour."

Emphasis," it has been said, "is in speech what coloring is in painting. It admits of all possible degrees, and must, to indicate a particular degree of distinction, be more or less intense, according to the groundwork or current melody of the discourse. It consists of any peculiarity of utterance which will call special attention to a particular word or words in a sentence. Thus it will be seen that emphasis may be of force, stress, quality, pitch, or rate.

I. EMPHASIS OF FORCE.

Study to show thyself a man!

II. OF STRESS.

1. Initial: Be ready, gods, with all your thunderbolts!
Dash him to pieces'

2. Median: What a piece of work is man!

How noble in reason! how infinite in faculties!

In form and moving how express and admirable!

In action how like an angel! In apprehension how like a god!

3. Final: Ye gods, it doth amaze me!

A man of such a feeble temper should
So get the start of the majestic world,
And bear the palm alone!

4. Compound: Arm! Arm! ye heavens, against these per-
jured kings!

5. Thorough: I ask, why not "traitor" unqualified by an epithet? I will tell him. It was because he durst not. It was the act of a coward who raises his arm to strike, but has not courage to give the blow.

III. OF QUALITY.

1. Aspirate: A lowly knee to earth he bent; his father's hand he took.

What was there in its touch that all his fiery spirit shook?

2. Pectoral: 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,
Or, by the fires of heaven, I'll leave the foe

And make my wars on you: look to't. Coe on!
3. Guttural: Thou stands't at length before me, undisguised,
Of all earth's groveling crew the most accursed.
Thou worm! thou viper! to thy native earth
Return! Away! Thou art too base for man
To tread upon. Thou scum! thou reptile!

IV. OF PITCH.

V.

1. High: They strike! hurrah! the fo, t has surrendered! Shout! shout! my warrior boy,

And wave your cap, and clap your hands for joy!

2. Low: The flag of the old Revolution
Swear firmly to serve and uphold,
That no treasonous breath of pollution.
Shall tarnish one star of its fold.

Swear!

And hark, the deep voices replying,

From the graves where your fathers are lying,
Swear, O Swear!

OF RATE.

1. Slow: Then answers he, "Ah, Hal, I'll try;
But in my throat there's something chokes."
2. Fast: He looked across the grassy lea,
To right, to left, " Ho, Enderby!"
"The Brides of Enderby."

They rang

NOTE.-Many of the above exercises are selected from Hamill's Elocution.

No definite rule can be given for the use of emphasis. It is so subtile, its shadings so delicate, that it can never be cabled to inflexible rules. But in general we should

emphasize

1. Words, phrases or clauses that are particularly significant.

2. Words, phrases or clauses that contrast.

3. Anything repeated for the sake of emphasis.

4. A succession of objects or ideas.

Word Individuality, Expressive Intonation, Imitative Modulation and Sound to Sense are terms used to express the act of playing upon words, sounding the syllables, or intoning the vowel in such a way as to more fully bring out the meaning of the word by its sound. (See page 42.) The stroke upon the vowel resembles that given the notes of a piano.

Practice the following words, intonating so as to best bring out the meaning: Rich, poor, little, great, brisk, smooth, rough, noble, large, broad, beast, dove, round, massive, strength, brilliant, sublime, powerful, grasping, glory, terrible, whirlwind, dazzling, gold, silver, joyous, slowly, victory, ragged, meekly, lordly, sparkling, glittering, bursting, repose.

Also practice selections on pages 127, 146, 160, 172, 179, 191, 234, 240, 250, 272, 281, and 340.

I.

2.

༣.

4.

5.

The following was given during the reign of Charles II. :

DR. WALLIS'S LIST OF DERIVATIVES.

St (Latin sto) denotes firmness or strength. Examples: Stand, stay, staff, stop, stout, steady, stake, stamp, etc.

Str indicates violent force or energy. Examples: Strive, stress, strength, stripe, etc.

Thr- implies forcible motion. Examples: Throw, throb, thrust, threaten, thraldom, thrill, etc.

Gl indicates smoothness or silent motion. Examples: Glib, glide, glow, etc.

Wr denotes obliquity or distortion. Examples: Wry, wrest, wrestle, wrangle, wring, wrong, wrath, etc.

6. Sw implies silent agitation or lateral motion; as sway, sweep, swerve, swing, swim, etc.

7. Sl den tes gentle fall or less observable motion. Sly, slide, slip, slit, slow, slack, sling, etc.

8. Sp-indicates dissipation or expansion. Spread, sprout, sprinkle, split, spill, spring, etc.

9. ash indicates something acting nimbly and sharply. Crash, dash, rash, flash, lash, slash, splash, etc.