saying, "There is energy demanded here"; see what kind of energy. Second, Learn carefully and practically each kind of stress; train the voice to these different apportionments of power, until the vocal symbol instantly and instinctively adapts itself to your mind's conception of the variety of energy required. Practice verifying the significance of these different types of energy by listening critically to voices in conversation and in public discourse. Do not confuse stress with inflection; practically they may unite-scientifically we are to separate them; and in the drill stage they must be thought of as distinct. Practice vowels and numerals in all forms of stress, always associating the rhetorical significance, and mentally thinking some sentence requiring different kinds of stress; then take actual sentences, speak them with different kinds of stress, and note the differences in significance. Like all vital Do not overdo the matter of stress. elements in expression it must be used moderately in order to be effective. Never allow mere impulse to decide the form or degree of stress. Effective utterance is always dominated by the intelligence and the will. Whatever particular form of volition is studied, the utterance must be justified to the reader or speaker by such mental expansion, comment, and restatement as could be expressed in writing. This will, indeed, fall short of complete expression, and is intended to be only an aid to such expression; but such aid is needed. The things to be kept constantly in mind are these: First, that volitional attitudes and actions must be justified by their relations to the intellectual and emotional conditions which introduce them; and, Second, that they may be mentally intensified by such repetitions and additional expressions as, if fully written, would quite overload the verbal expression. In addition to those already given, find or make typical examples of abruptness, insistence, uplift, establishment, and violence. Write in between the lines and between the words such amplifying matter as you think will legitimately express the accompanying thoughts and impulses of the speaker's mind, and thus give force and point to these different types of energy. PART IV. GENERAL PROPERTIES OF UTTERANCE. THUS far we have considered the more minute and particular applications of the properties of tone to special purposes in the utterance. In one view, the study cannot be too minute, even though it become microscopic; because the examination into the definite purpose and the precise relations of thought must be the basis for any refined and expressive utterance. Nevertheless, many people can judge only in a more general way; and even a critic must take note, first, of the broader principles and properties of utterance. These general properties of utterance are approached from the physical side rather than from the mental; and for this reason they should be studied only after formal and thorough analysis of thought-properties. The particular applications of tone-properties, as quantity, inflection, stress, serve to single out some word or phrase as the center of the expression and as that which gives character to the utterance. All the general applications, as movement, key, melody, general force, and general quality, give character to the thought as a whole, and not with special reference to any one central word or phrase. The general both affects the particular and is affected by it. The general should always lead, and subordinate to itself the particular. Thus, e. g., "general force" is determined by the consideration of the kind of energy implied in the passage as a whole; when thus determined, "particular force," or "stress," will naturally follow, applying itself to the central words in each assertion or appeal. The emphasis thus secured will not have the undue pointedness or jerky effect sometimes heard in young speakers. It was necessary at first to study force in the form of stress, to reach a specific idea of the different kinds of energy. So, inflection is more easily understood than melody; and pause and quantity, than movement. These different elements, once apprehended in connection with the smaller divisions of speech, become a guide and illustration to the larger divisions, which in turn react upon the particular elements. We study, as "general properties," Movement, Rhythm, Melody, Quality, and Force; and for convenience we include in this division of the work the topics: Vocal Expression as applied to different forms of Literature; Gesture as Figurative Language, and Vocal Technique. CHAPTER XXII. MOVEMENT. You may know a true artist by his sensitiveness to tempo. -Madame Seiler. MOVEMENT, as an element of expression, is distinguished from pause and quantity mainly by this feature of general application; that is, while pause or quantity is heard upon a single element of a sentence, and for the uses of that element, except in case of the oratorical pause, general movement, or rate, is heard as affecting the whole passage, division, or discourse. Movement in speech corresponds to tempo in music; pauses correspond to rests; quantity, either to notes relatively long or to "holds." The movement, or tempo, gives the general effect of the thought as a whole. Movement either measures the rapidity of the mind's action in the thought which is uttered, or suggests the amount and nature of unuttered but implied thought. The slower movements express more of thoughtfulness, seriousness, solemnity, tenderness, doubt or misgiving, in the mind of the speaker; and adapt themselves to the descriptions of scenes, incidents, etc., that are slow-moving or grave. In short, slow movement means gravity. EXAMPLES: Cæs. Would he were fatter! but I fear him not: Yet, if my name were liable to fear, |