« السابقةمتابعة »
nature; but I know, that such abominable principles are equally abhorrent to religion and humanity. What! 10 attribute the sacred sanction of God and nature, to the massacre of the Indian scalping knife !--to the cannibal savage, torturing, murdering, roasting and eating, literally, my lords, EATING, the mangled victims of his barbarous battles !
IV. In reading examples like the following, besides the increased stress on the emphatic words, there should be a fuller swell, and a gradually rising pitch of the voice, on each successive member, to the acme of the passage; when, by a gradual descent, it should return to its ordinary level :
The cloud-capt towers, the gorgeous palaces,
Leave not a rack behind. In vain after these things may we indulge the fond hope of peace
and reconciliation. There is no longer any room for hope. If we wish to be freé—if we wish to preserve inviolate those inestimable privileges, for which we have been so long contending—if we mean not basely to abandon the noble struggle in which we have been so long engaged; and which we have pledged ourselves never to abandon, until the glorious object of our contest shall be obtained—we must-fight! I repeat it, sir, we must-FIGHT!! An appeal to arms and to the God of Hosts, is all that is left us.
What! must a man be converted, ere from the most elevated peak of some Alpine wilderness, he becomes capable of feeling the force and majesty of those great lineaments, which the hand of nature has thrown around him, in the varied forms of precipice and mountain, and the wave of mighty forests, and the rush of sounding waterfalls, and distant glimpses of human territory, and pinnacles of everlasting snow, and the sweep of that circling horizon, which
folds, in its ample embrace, the whole of this noble amphitheatre ?
There is in some instances a marked protraction of sound on the emphatic words :
Heaven and earth will witness, If ROME-MUST--FALL,—that we are innocent. Why-WILL-ye-DIE, O house of Israel ?
Important as emphasis is to spirited and graceful elocution, it must not be used too unsparingly, nor without just discrimination. The multiplication of emphatical words in a sentence, is “like crowding all the pages of a book with italic characters, which, as to the effect, is the same using no such distinctions at all.”
Nor should any word be emphasized, unless, by its significancy, and importance in the sentence, it be worthy of such distinction. Particles, and words of very common occurrence in language, must he spoken “trippingly on the tongue.”
When, however, such particles and words become significant, they admit the emphatic stress :
Canst thou believe thy Prophet ? or, what's more,
In the corrupted currents of this world,
Compass of Voice.
every person has three pitches of the voice :--the high, used in calling aloud to some person at a distance; the low, used in cadence, or the grave underkey; and the middle, or that which is employed in common conversation.” Strictly speaking, we have many pitches of voice, from the deep undertone to the alto or scream; and are prompted by a natural impulse, to employ one or another, according to the distance of our auditor, or the earnestness with which we address him. With more attention to this particular, than is ordinarily bestowed upon it, the compass of the voice, as well as its flexibility, might be greatly improved. One who has a practised musical ear, would possess great advantages for this purpose, over another. For cultivating the bottom, or bass of the voice, the sacred Scriptures, in their sublime descriptions of the ALMIGHTY, and of the awful scenes of the last judgment, afford the best passages for exercise. In reading such passages as the following, let the voice assume the deep reverential monotone :
And lo! there was a great earthquake; and the sun became black as sackcloth of hair, and the moon became as blood ; and the stars of heaven fell unto the earth, even as a fig-tree casteth her untimely figs, when she is shaken of a mighty wind. And the heavens departed as a scroll when it is rolled together; and every mountain and island were moved out of their places. And the kings of the earth, and the great men, and the rich men, and the chief captains, and the mighty men, and every bondman, and every freeman, hid themselves in the dens, and in the rocks of the mountains; and said to the mountains and rocks, Fall on us, and hide us from the face of him that sitteth on the throne, and from the wrath of the Lamb: for the great day of his wrath is come, and who shall be able to stand ?
And I saw a great white throne, and him that sat on it, from whose face the earth and the heaven fled there was found no place for them. And I saw the dead, small and great, stand before God; and the books were opened: and another book was opened, which is the book of life; and the dead were judged out of those thitigs which
away ; and
were written in the books, according to their works. And the sea gave up the dead which were in it; and death and hell delivered up the dead which were in them; and they were judged every man according to their works.
Hàil horrors Hàil
Receive thy new possessor! To cultivate the top of the voice, passages of great animation should be selected; particularly such as contain many interrogatories :
They tell us, sir, we are weak-unable to cope with so formidable an adversary. But whenr, sir, shall we be stronger? Will it be the next week, or the next year? (h) Will it be when we are totally disarmed, and a British guard shall be stationed in every house ? Shall we gather strength by irresolution and inaction? Shall we acquire the means of resistance by lying supinely on our backs, and hugging the delusive phantom of hope, until our enemies shall have bound us, hand and foot ? .
Whence, and what art thou, execrable shape,
Hell-doom'd--and breath'st defiance here, and scorn,
Strange horrors seize thee, and pangs unfelt before.” The following passage exhibits the two extremes of pitch:
BATTLE OF WATERLOO.
eyes looked love to eyes which spake again, And all went merry as a marriage-bell ; (1) But hush! hark ! a deep sound strikes like a rising
To chase the glowing hours with flying feet(1) But, hark That heavy sound breaks in once more,
As if the clouds its echo would repeat,
And nearer, clearer, deadlier than before ! (H) Arm! àrm! it is—it is the cannon's opening roar!
Loudness. This refers to the degree of strength and fullness which we give to the voice on any key. It is very liable to be confounded with high pitch, although the voice may be loud,