less demand for exertion. Hence, Force indicates the mind's activity, represents the kind or degree of mental energy. Volume. When natural causes have such an effect upon utterance as to close, choke or expand the throat - as in whispering, the guttural sound, or wailing,-it is because one's excitement, one's feelings, have mastered him. ume, or the qualities of the voice, therefore, which are determined by just such actions of the throat, represent the degree or kind of mental feeling.

Of course, to some extent, all the departments of mind are enlisted in the use of each of these elements of emphasis; but when considering that which each is particularly adapted to represent, it may be said that time represents the judgment, pitch the motives, force the energy, and the quality of voice the feelings.

Besides this, it may be said that while the special emphasis used with an individual word represents some special conception of the speaker with reference to it, the general emphasis given to clauses and sentences represents the combined influence of many special conceptions, i.e. his general state of mind, or his moods.

If a special utterance is conceived of as in itself final or decisive, i.e. interesting, important, noteworthy, affirmative, positive, or if the general mood expressed in the utterance is serious, grave, dignified or self-determined, the judgment, first of all, measures, then the motives direct, and in case there is demand for it the energies push and the feelings qualify the idea as something to be emphasized, because (§ 18) it introduces importance, information or peculiarity into the general sense. This emphasis for important ideas is given by the use of slow time, low unvaried pitch, loud or else abrupt force, and full volume. Opposite conceptions and states

are expressed, of course, in opposite ways. These principles, which there is no necessity of stating again under each separate head of time, pitch, force and volume, will be unfolded and explained in the consideration of these elements that is to follow.

33. The Diagram on the Elements of Emphasis in Combination (§§ 140).

In this, the facts jus. stated are presented in such a way as to show at a glance what the elements of emphasis are, and also that similar conditions influence them similarly. The student who has come to understand the principles underlying the diagram, and can apply them to his delivery, has mastered the main difficulties of our subject.

34. Methods of Studying the Elements of Emphasis. Beginners should first learn § 201, and what is printed in large type, and enough that is in the fine type to enable them to understand the principles in the large type,-under the heads of Elocutionary Pauses (§§ 35-39), Movement (§§ 40-42), Inflections (§§ 4374), Starting Key of the Slides (§§ 75–77), and Key (§§ 96, 97); then they can turn to the diagram (§§ 140), and, in connection with this, study Transitions (§§ 147-151), and Massing (§§ 152, 153). Only after this need their attention be directed to Stress (§§ 98–105), and still later, in connection with vocal culture, to General Force (§§ 106-115), Quantity (§ 39), Quality (§§ 121-137), and Melody (§§ 78-95). See also § 6 of Preface, and §§ 201, 203, 204.

TIME.

ELOCUTIONARY PAUSES.

35. Elocutionary Pauses, with cessations of sound, should be made before or after; or the voice should dwell on all words that introduce into the general sense special importance, information, or peculiarity. (§§ 18, 32, 140.)

a. Pauses are not often made before words, because most of these are preceded by an article, preposition or qualifier that cannot, except for extraordinary emphasis, be separated from them; e. g. One half of the whole was the whole | of his claim.

b. They are usually made after words, and must be made there when these contain short vowels and consonant-sounds that cannot be prolonged without a drawl; e. g.

Up, sluggard, | up! | Wicked, | debilitated | wretch! | Fickle fop!

c. When a word contains one or more long vowels or consonantsounds that can be prolonged, the voice dwells on it, with or without a cessation of the sound at its close. This makes delivery legato rather than staccato (§ 39); e. g.

Wailing, and woe, | and grief, | and fear, | and pain.

36. Besides making delivery rhythmical, and so natural (see § 26,-hence called Harmonic Pauses), these pauses allow time for breathing, for giving slides, stress and full quantity, and for uttering the important words (hence called Rhetorical Pauses) that give the clew to the meaning of a passage with distinctness (see § 40). In addition to this, they have more to do than changes in pitch or force with preventing monotony. They introduce light and shade into delivery. The foreground for important ideas is slower time; while, in contrast with this, faster time keeps unimportant ideas in the background.

a. These pauses depend on the sense, not on the grammatical construction; so they may or may not be used where there are marks of punctuation.

b. Sometimes it is impossible to render the sense without bringing in the pause, e. g. (see, also, § 97: a; § 140: a)—

1. Let that plebeian || talk; 'tis not || my || trade.

2. Daily || with souls that cringe and plot

We Sinais climb || and know it || not.

37. According to the general principle (§ 35) a slight pause usually stands between the predicate of a sentence and its subject, and also its object (unless these are pronouns); and after emphatic adjectives, adverbs, prepositions (but these latter are very seldom emphatic) and conjunctions, especially but; e. g.

The people will carry us | gloriously | through | this struggle.
He is pleasing, | but || is he honest?

a. Be especially careful to pause after Adjectives that are essential to the sense of the nouns they qualify; e. g. Instead of chartered | immunities, | held under a British |

king, set before them the glorious | object of entire | independence.

b. Never pause long on words whose importance depends on what follows; not thus, e. g., Thousands || of them | that love | me.

38. In emphasizing by the pause, there is a natural tendency to group or mass (see §§ 152, 153) words together, the less important around the more important, and to consider each phrase thus formed as a unit, i.e. as one long word of many syllables. Such a group has in it no full pauses; but, to separate it from other groups,

a. A Pause usually precedes and follows every qualifying, relative, parenthetical or independent phrase, clause or sentence; every simile or quotation, and every separate paragraph; e. g.

Mr. Burke, || who was no friend | to popular excitement,- || who was no ready tool of agitation, || no hot-headed' enemy | of existing establishments, || no undervaluer | of the wisdom of our ancestors, || no scoffer | against institutions as they are,― || has said, and it deserves to be fixed in letters of gold | over the hall of every assembly | which calls itself a legislative 1 body,-"Where there is abuse, | there ought to be clamor; || because it is better | to have our slumber | broken by the firebell, I than to perish amid the flames, | in our bed!"

For other examples of the pause, see § 28: c; § 140: a; §§ 150, 151, 226; 117, 120; and §§ 211-219: 1, 3, 12.

b. For a similar reason a pause occurs wherever there is an ellipsis, or words are omitted.

O God, I to clasp | those fingers | close ||

And yet to feel | so lonely!

In connection with pauses, see Massing, § 152; especially what is said of the emphatic tye, § 153.

QUANTITY.

39. Quantity, as this term is technically used in elocution, refers exclusively to the quantity of time employed in the utterance of a syllable. It has to do with the methods of giving the emphatic pauses.

a. Wherever these pauses occur, and thus lengthen the time in which a syllable is uttered, it is important, if possible, to prolong the ordinary vowel-sounds or consonant-sounds composing it. Otherwise the tones of the voice will cease after each emphatic syllable; and

one's delivery will not be characterized by that continuity of utterance which is always pleasing, and often, as in sustained force (§ 109), necessary to the effect.

b. As related to Quantity, syllables are of two kinds :

I. Variable. Almost every syllable, whether containing a long or a short vowel, can be prolonged when there is reason for it; e. g. in that, what, all, arm, debt, easy, fig, defile, nod, no, tub, tune. II. Fixed. In a general way, it may be said that some syllables, especially those containing a short vowel and ending with k (c, ch), p or t, cannot be prolonged without a drawl. When such syllables precede a pause, the sound ceases; e. g. Tuck | it | up— Sip it-The patter | of the upper | pit.

c. A due regard for the requirements of quantity enables one to read poetry smoothly yet rhythmically; e. g.

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow-sorrow for the lost Lenore
For the rare and radiant maiden whom the angels name Lenore-
Nameless here for evermore.

d. It has much to do also with imparting to oratory that rhythmical emphasis that Dr. Rush termed drift (see § 154).

Quantity is best cultivated indirectly, through the General Exercises (§§ 8-14), and through learning to use rightly the different kinds of pauses (§ 35), inflections (§ 43), stress (§ 99) and force (§ 106).

For long quantity, practice smooth and sustained force (§§ 109112), also the monotone (§§ 94, 95).

For short quantity, abrupt and vehement force (§§ 107, 114, 211 also initial stress, § 100: 1, 2, 3).

MOVEMENT.

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40. Movement changes with every transition of mean ing or new paragraph,-becoming slow to represent what moves slowly,' or to emphasize what introduces special importance, information or peculiarity into the general sense; and becoming fast to represent what moves rapidly, or to slight what is comparatively valueless" or is known, acknowl edged, forestalled, or repetitious," whether in the way of statement" or sequence.12 (§ 18, 32, 140.)

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