Pure, high, sustained force, varied melody. 3. The birds can fly, an' why can't I? Must we give in," says he with a grin, “That the bluebird an' phéebe are smarter'n we be?” Pure, high, varied melody. 4. The meaning of Meek she never knew, Idem. But imagined the phrase had something to do And it seemed to her exceedingly plăin, 5. Fal. I call thee coward! I'll see thee hanged ere I call thee coward; but I would give a thousand pound I could run as fast as thou canst. You are straight enough in the shoulders; you care not who sees your back. Call you that backing of your friends? A plague upon sûch backing! Medium pitch, orotund and guttural. 6. What's banished, but set free From daily contact of the things I lôathe? who says this? I held some slack allègiance till See, also, §§ 211, 212, 213. a. This stress is especially effective on a long slide made on a single syllable that ends a word; e. g. I supplicate you, I implore you. The syllables that follow the inflection on supplicate prevent our using the Compound Stress on that (see § 45: b, c). It will be noticed, also, that the same principle sometimes prevents our using Compound Stress even where we have the circumflex (§ 45: c). b. Used excessively, Compound Stress makes delivery seem sometimes snappish, and sometimes overdone, in the matter of emphasis. 104. Thorough Stress, a strong stress throughout the syllable, is sometimes described as a combination of Initial, Median and Terminal X, but, as given by a flexible cultivated voice, it perhaps might better be described as a very strong form of Median Stress. In either case, it would begin and end loud, and indicate a combination of the ideas conveyed by Initial, Median and Terminal; i. e. positiveness, push and feeling, all together; therefore, rapturous triumph, vehement appeal, lofty command, indignant disdain or soul-stirring agony. Moderately high aspirated orotund. 1. The world recedes; it disappears! Heaven opens on my eyes! my ears Lènd, lend your wings! I mount! I fly! O death! where is thy sting? High orotund, explosive sustained force. 2. Cheer answer chéer, and bear the cheer about. Hurràh, hurràh, for the fiery fort is ours! Idem. 66 Victory, victory, victory!" 3. Forward, through blood and toil and cloud and fire! They shake; like broken wàves their squares retire. Idem. 4. Some to the common pulpits! and cry out "Liberty, freedom and enfranchisement!" Low aspirated pectoral. 5. Poison be their drink; Gall, worse than gall, the daintiest meat they taste; As a rule, this stress needs to be more avoided than cultivated. Except when used with discrimination, its inflexibility, devoid of the graceful and delicate tones characterizing other forms of stress, renders it a disagreeable mannerism, suggesting, when employed on the stage, rudeness and vulgarity. 105. Tremulous Stress (so called) is hardly a form of stress, but a trembling movement of the voice produced in the throat, and characterizing a whole passage rather than the emphatic words in the passage. It indicates exhaustion, whether it come from age, sickness, weakness, or an excess of emotion, either of joy or of grief. Pure, medium pitch. 1. Pity the sorrows of a poor old man, Whose trembling limbs have bórne him to your door. Pure, medium pitch, moderate time. 2. If you're wáking, call me èarly, call me early, mother dear, For I would see the sùn rise upon the glád Néw Year. Then you may lay me low i' the moùld, and think Oratund, medium pitch. 3. Have mercy upon me, O God, according to thy lovingkindness: according unto the multitude of thy tènder mèrcies, blot out my transgressions! Wash me thoroughly from mine iniquity, and cleanse me from my sìn. For I acknowledge my transgressions, and my sin is ever before me. Against thee, thee only, have I sinned, and done this evil in thy sight. Hide thy fàce from my sins, and blot out all mine iniquities! High, pure, aspirated, fast. 4. You must wake and call me early, call me early, mother dear; To-morrow 'll be the happiest time of all the glad Of all the glad New Year, mother, the maddest, mèr- For I'm to be Queen o' the Mày, mother, I'm to be Orotund, rather low. 5. Còld is thy bròw, my son! and I am chill, as to my bósom I have tried to prèss thee! How was I wont to féel my pulses thrill like a rích hàrpstring, yearning to carèss thee, and héar thy sweét My father!" from those dumb and cold lips, Absalom! 66 See, also, §§ 91, 228. A discriminating use of the tremor imparts to delivery a rapturous or pathetic effect that nothing else can give; used in excess, it is enfeebling. Let the student now read over the passages given as illustrations in §§ 107-120, 123-137, 140-145, and § 149, and determine for himself the kind of stress that should be used with each quotation. GENERAL FORCE. 106. By this is meant the force that characterizes series of words in phrases or sentences, rather than single words or syllables. It may be divided, according to the kind of mental energy (§ 32) that it expresses, into abrupt and smooth force; according to the degree of this energy, into loud and soft force; or according to the nature of the force itself, as influenced by the action of the vocalizing organs, into sustained, natural and suppressed; as influenced by the action of the lungs, into explosive, expulsive and effusive (§ 8). Besides this, it is further modified by the kind of stress used with individual words,-all which facts are sufficient to show that the character of General Force is somewhat complicated. But a little attention given to the following explanations will reveal to the student that the right use of all these different varieties of force depends on the application of a few general principles, which it is not difficult to understand. Let him first learn when to use loud or soft, abrupt or smooth force; then all that follows will show him how to use these. 107. Abrupt Force is used when there is an excess of energy, which seems to have a constant tendency, as it were, to burst through the form. If this excess come from a great degree of excitement, or of irritation, as in rage, horror, detestation, etc., we have a. Loud Abrupt Force, usually on a low key with orotund, aspirate or guttural quality. Practice the following, and all the examples in § 149, changing the force as indicated by the italics. Keep a low key, expelling tones from the abdomen (§ 2). Dost thou come here to WHINE? TO OUTFACE me by leaping in her grave? BE BURIED QUICK WITH HER, and so will Î. And if thou prate of MOUNTAINS,-let them throw SINGEING HIS PATE, AGAINST THE BURNING ZONE, (See, also, exercises in § 14; also §§ 110, 114.) If the excess of energy comes from a slight degree of excitation, or from mere exuberance of spirit, as in laughing mirth, raillery, etc., we have b. Soft Abrupt Force, uttered usually with a high, discrete varied melody (§ 92: a) and pure quality. Now o'er a chair he gets a fall; now floundering forwards with a jerk, he bobs his nose against the wall; and now encouraged by a subtle fancy that they're near the door, he jumps behind it to explore, and breaks his shins against the scuttle; crying, at each disaster-" Drat it! Hang it! 'od rabbit it!" and "Rat it!" 108. Smooth Force is used when there is merely what might be termed an expansion of energy. If this is accompanied by a great degree of excitation or enthusiasm, as in referring to what is sublime, grand, powerful, etc., we have a. Loud Smooth Force. (See, also, §§ 111, 215, 218.) If there were no religion; if that vast sphere, out of which grow all the supereminent truths of the Bible, was a mere emptiness and void; yet, methinks, the very idea of Fatherland, the exceeding preciousness of the laws and liberties of a great people, would enkindle such a high and noble enthusiasm, that all baser feelings would be consumed! If there is only a slight degree of excitation and exhilaration, as in referring to what is beautiful, lovely, tender, etc., (see, also, §§ 109, 112, 116, 119), we have b. Soft Smooth Force. If I were now to dîe, 'Twere now to be most happy; for I fear (See, also, exercises in § 14: b.) Now let us consider how to produce these different kinds and degrees of Force: first, as determined by the modes of vocalizing. 109. Sustained Force. When one speaks forcibly on a high key, appropriate for light, gay, lively or uncontrolled states of mind, there is a tendency to run the tones together, as in singing, i. e. to sustain them. Although natural to a high key, the same kind of force can be used, especially after |