expansion of the organic parts, and a ringing fulness, roundness, and smoothness of sound.1 "Orotund" quality may, in one of its forms, (the shout,) be regarded as the maximum of " pure tone," united with the most powerful resonance of the pharynx. Like the pure tone, however, it admits of degrees; and we find it existing, according to the greater or less intensity of emotion, in the different forms of "effusive," expulsive," and "explosive," force. In other cases, it partakes of "aspiration," being rendered "impure," by violence of emotion and force of breath. We proceed to the exemplification of the first of the above gradations. 66 I. 66 EFFUSIVE OROTUND." This designation is applied to that species of utterance in which the voice is not sent forth from the organs by any obvious voluntary expulsion, but is rather suffered to effuse itself from the mouth into the surrounding air. It resembles the insensible and unconscious act of tranquil breathing, as contrasted with the effort of panting. But though perfectly gentle in its formation, and passing but little beyond the limits of merely "pure tone," it still obviously extends beyond that form of voice, and assumes a somewhat different character. "Pure tone," in its "effusive" form, is executed principally by the full expansion of the chest, a large inhalation, but a very gentle and limited expiration; whilst "effusive orotund" gives a very free egress to the breath, and, by its larger volume of sound, and greater emissive force, uses more breath, in the production of sound. "Effusive pure tone" is obtained chiefly by skilful withholding of the breath, and using the larynx so gently and so skilfully, that every particle of air passing through it, is converted into sound. "Effusive orotund" demands a wider opening of the organs, and a freer and firmer use of them, so as to produce a bolder and rounder tone. It resembles, however, in its style, the "effusive" function of "pure tone," in its gentle and sustained swell of utterance, as contrasted with the "expulsive" and "explosive" forms of the "orotund." 1 For a more minute description of "orotund " quality, we refer to the work cf Dr. Rush. The modes of feeling or emotion which are expressed by "effusive orotund voice," are pathos,-when mingled with grandeur and sublimity,—and solemnity and reverence, when expressed in similar circumstances. - Pathos, divested of grandeur, subsides into " pure tone," merely. The same result takes place in the utterance of solemnity, if unaccom panied by sublimity. But reverence, always implying grandeur or elevation in its source, is uniformly uttered by the "orotund" voice, though from the tranquillity, and the partial awe, with which it is attended, its force does not go beyond the "effusive" form,-as may be observed in the appropriate tone of adoration, uttered in the exercise of devotion. Analysis thus shows us the value of the "orotund," as imparting dignity of effect to utterance, even in its gentler moods. It teaches us, moreover, the inefficacy or the inappropriateness of all utterance which, in giving forth the language of noble and inspiring emotion, falls short of "orotund" quality, and reduces the style of voice to that of ordinary or common-place topics. Gray's Elegy, for example, if read without "orotund," becomes feeble and trite, in its style; Milton's Paradise Lost, if so read, becomes dry and flat; and the language of devotion, uttered in the same defective style, in prayer, or in psalms and hymns, becomes irreverent in its effect. The mode of securing the advantages of "orotund " utterance, is, in the first place, to give up the whole soul to the feeling of what is read or spoken in the language of grave and sublime emotion. The mere superficial impression of a sentiment, is not adequate to the effects of genuine and inspiring expression. The reader or speaker must be so deeply imbued with the spirit of what he utters, that his heart overflows with it, and thus inspires and attunes his organs to the full vividness of expressive action. The ample and noble effect of "orotund" utterance, can never be acquired through the clearest apprehension of a sentiment by the understanding merely the heart must swell with the feeling; and the stream of emotion must gush over the whole man. Nor is it sufficient that the reader's feeling be commensurate with the mere personal impression of a sentiment: genuine expression demands such a surplus, as it were, of emotion that it is sufficient to overflow the reader's own being, and impel and carry on with it the sympathies of his åudience. The reader must himself feel the inspiration of number enkindling his personal emotion, and elevating and expanding his being, for the full outpouring of expression. : But few readers seem fully to feel the difference between the quiet and passive state in which we sit and give up our imagination to be impressed by the language of an author, and the communicative and active energy requisite to stamp even such an impression on the minds of others. In the former case, we are but involuntary, or, at the most, consentaneous recipients: in the latter, we are the positive and voluntary creators of effect. The deep and full feeling of an author's sentiment, then, is the natural preliminary to expressive effect and consequent "orotund." But, from the imperfections of early culture, attention is, in most cases, demanded, at the same time, to the state and functions of the organs. The effect of "effusive orotund," on the voice, is identical in its quality with the soft, but round and deep tone of a prolonged yawn, -a form of voice which comes, obviously, from the peculiarly wide and free position of the organs in that act. Hence arises the suggestion to repeat voluntarily the effort of loud and prolonged yawning, and watch its peculiar effect on the sound of the voice, and repeat and prolong the sound in the form of the yawn, till it can be executed at pleasure. 66 "Effusive orotund" is, in one view, nothing else than "pure tone" rendered intense and ample in volume, by vigorous emission of breath, and by laryngial quality, or the full deep ringing effect of a free use of the larynx, and an ample expansion of the pharynx. The same position and movements of the organs, therefore, are used in the one, as in the other. The larynx operates in both with the consentaneous enlargement of the pharynx, the elevation of the veil of the palate, and the exactly balanced use of the nasal passage, a style in which it is neither too much compressed, nor too widely opened, but exerted in the mode required to produce what musicians term "head tone.' The cultivation of vocal music, in the form of singing bass, is one of the most effectual means of securing the property of "effusive orotund" utterance, in reading and speaking. The following, and similar examples, together with the tabular elements, should be attentively and repeatedly practised, till the full, clear, deep and perfect resonance of the "orotund " quality of voice, is perfectly at command. I. Examples of "Effusive Orotund." 1. Pathos and Gloom, or Melancholy mingled with Gran deur.1 From Gray's Elegy. "The curfew tolls,—the knell of parting day; The lowing herd winds slowly o'er the lea; 1 Pathetic, tranquil, and solemn emotions, always pass from "pure tone" to "orotund quality," when force or sublimity, in any degree, marks the language in which these emotions are uttered. The ploughman homeward plods his weary way, "Now fades the glimmering landscape on the sight, "Save that, from yonder ivy-mantled tower, The moping owl does to the moon complain Of such as, wandering near her secret bower, Molest her ancient, solitary reign. "Beneath those rugged elms, that yew-tree's shade, Where heaves the turf in many a mouldering heap,➡ Each in his narrow cell forever laid, The rude forefathers of the hamlet sleep. "For them no more the blazing hearth shall burn, No children run to lisp their sire's return, 2. Solemnity and Sublimity combined. MILTON'S INVOCATION OF LIGHT. "Hail! holy Light,-offspring of Heaven, first-born, May I express thee unblamed? since God is light, Dwelt from eternity,-dwelt then in thee, 3. Reverence. FROM THE BOOK OF PSALMS. "Bless the Lord, O my soul! O Lord, my God, Thou art very great; Thou art clothed with honor and majesty; who coverest thyself with light as with a garment; who stretchest out the heavens like a curtain: who layeth the beams of His chambers in the waters: who maketh the clouds His chariot; who walketh upon the wings of the wind; who laid the foundations of the earth, that it should not be removed forever." II. (6 EXPULSIVE OROTUND. This form of the "orotund," or full utterance of public reading and speaking, bears precisely the same relation to the preceding, that "expulsive" bears to "effusive” “ pure tone." It arises from the forcible action of the abdominal muscles, added to full expansion of chest, and deep inspiration. It has the same laryngial property which justifies the application of the term "orotund" to the "effusive" style of that form of utterance. "Expulsive orotund" belongs appropriately to earnest or vehement declamation, to impassioned and poetic excitement of emotion, and consequently to whatever language is uttered in the form of shouting. The first-mentioned of these styles, the declamatory, is exemplified in public address or debate, on exciting occasions. The second is heard in the utterance of passion, when the reader or speaker passes beyond the mere voluntary and conscious force of " declamatory" utterance, and, in part, becomes himself, — in common with his audience,—an unconscious, involuntary subject of the impelling emotion which he expresses. The third form of "expulsive orotund," is at once the impassioned and the voluntary burst of emotion which transcends the customary forms and effects of speech and, in the spirit of enthusiastic excitement, utters itself ir shouts and exclamations. |