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QUICK AND JOYOUS.
MODULATION - DELIVERY — EXAMPLES IN VARIOUS STYLES: TENDERNESS;
RAPID, LIGHT, AND BRILLIANT; AWFUL; THREATENING; REVENGE; SCORN; DISGUST AND CONTEMPT; SARCASM; REMORSE AND HUMILIATION; CONTRITION AND DOUBT; FEAR; LOVE; SORROW AND GRIEF; HORROR AND AGONY.
Modulation comprises all the qualities of speech heretofore treated, from the division of accent, and all qualities of voice in shades of inflection and varieties of pitch. To have good modulation requires the mastery of every element in the art, with judgment and taste to direct their use. This gives the music of speech and the melody of oratory.
The most delicate shades of sound are those made by human speech. It is through the ear that we learn to imitate sound, as through the eye we learn to imitate motions. Let not persons say they can not learn to sing because they have no ear for music-can not detect sound or learn tunes. If such had not possessed a discriminating ear, they never could have learned to utter those words in which they say they have not the ability to detect sound. They are denying the sounds they use.
'T is true we all have ears, and hear not the wonderful sounds that strike the tympanum; but it is because consciousness is not attentive-does not listen for them; and of course the mouth can not articulate what is unknown to the ear. The dumb are only so because the ear is dead. Therefore those who have eyes and ears need never limit their attainments.
RULES.—To be heard distinctly at a distance requires a full expulsion of the vowel-sounds; to be understood requires a clear and perfect articulation of the aspirates and subvowels ; to be appreciated the voice must be modulated so as to present each new thought or sentiment on a different pitch from the preceding one.
Delivery is word-painting; the speaker sees the subject in his mind distinctly. If it is a picture of a landscape, a battle-scene, a deathscene, it matters not what, it must be first distinctly understood and appreciated by the individual before any attempt should be made to express it. We have words, similes, tropes, analogies—the various tones and movements of voice, which correspond to the pigments of the artist—by which we transfer what we have in our own mind to the minds of others. Therefore let the student get a general outline of the subject of the piece he is about to recite. First comprehend the general situation of affairs, then the various objects in its composition, their relations to each other and to the main subject, and then, by voice and action, endeavor to make it intelligible to others, exactly as it lies in his own mind.
Take the following extract, learn it, analyze it, review it, and then recite it:
(King Henry before the gates of Harfleur; the governor and citizens above, on the walls of the besieged city. The attitude and action those of one speaking to an audience at some elevation-the voice loud and prolonged, to enable it to be heard at a distance; together with the imperious tone of command, to express the matter of the speech, the tenor of which is a threat.)
K. Henry. How yet resolves the governor of the town?
To come ashore. Therefore, you men of Harfleur,
say you? Will you yield, and this avoid ?
EXAMPLES IN VARIOUS STYLES.
TENDERNESS. “There's another,—not a sister;—in the happy days gone by You'd have known her-by the merriment that sparkled in her eye; Tell her-the last night of my life (for ere the moon be risen My body will be out of pain, my soul be out of prison) I dreamed I stood with her, and saw the yellow sunlight shine On the vine-clad hills—of Bingen, fair Bingen on the Rhine! I saw the blue Rhine sweep along;-I heard, or seemed to hear, The German songs we used to sing, in chorus sweet and clear; And down the pleasant river, and up the slanting hill, The echoing chorus sounded, through the evening calm and still; And her glad—blue eyes were on me as we passed with friendly talk, Down many a path beloved of yore, and well-remembered walk; And her little hand lay lightly,-confidingly in mine; But we'll meet no more at Bingen, loved Bingen on the Rhine!”
With her lips apart.
Of a broken heart.
To her final rest.
Dim within her breast.
She has breathed her last.
She to heaven has passed !”
RAPID, LIGHT, AND BRILLIANT.
Where the trees are gently waving;
Where the streams are gently laving."
SLOW, AND EXPRESSIVE OF THE AWFUL.
Cassius. Brutus,-bay not me!
Brutus. Go to; you are not, Cassius.
Cas. Urge me no more, I shall forget myself;
Bru. You say you are a better soldier:
Cas. You wrong me every way; you wrong me, Brutus :
Bru. If you did, I care not!
Cas. Do not presume too much upon my love;
do that I shall be sorry for.
“If it will feed nothing else, it will feed my revenge. He hath disgraced me, and hindered me of half a million; laughed at my losses, mocked at my gains, scorn'd my nation, thwarted my bargains, cooled my friends, heated mine enemies. And what's his reason? Tam a Jew. Hath not a Jew eyes ? hath not a Jew hands, organs, dimensions, senses, affections, passions ? Is he not fed with the same food; hurt with the same weapons; subject to the same diseases; heal'd by the same means; warm'd and cool'd by the same summer and winter, as a Christian is? If you stab us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that, If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, REVENGE. The villainy you teach me, I will execute; and it shall go hard but I will better the instruction.”
Macbeth. I drink to the general joy of the whole table,
Lords. Our duties and the pledge.
Macb. Avaunt! and quit my sight! Let the earth hide thee!
Think of this, good peers,
Macb. What man dare, I dare:
“Ay, go thy way, thou painted thing,