concentrated in the syllable cow-, by peculiar force of utterance. But the mere force or loudness used, is only one of the many elements of expression, which the syllable is made. to comprise, in the intensely excited passion implied in the words. Attentive analysis will show that, in what is termed “emphasis,” in this instance, there are included all of the following elements of vocal effect: 1st, the mere force or energy of the utterance, which produces the loudness of voice, that accompanies violent or vehement excitement of feeling; 2d, the abrupt and explosive articulation with which the accented syllable is shot from the mouth, in the expression of anger and scorn; 3d, the comparatively low pitch on which the syllable cow- is uttered, as contrasted with the high note on the opening word "pale," and which indicates the deep-seated contempt and indignation of the speaker; 4th, the comparatively long duration of the accented syllable, and the consequent effect of deliberate and voluntary emotion, as contrasted with the rapid rate of hasty and rash excitement; 5th, the downward "slide," the inseparable characteristic of all impetuous, violent, and angry emotion; 6th, the "pectoral, ""guttural," and strongly "aspirated quality" of voice, with which the utterance seems to burst from the chest and throat, with a half-suffocated and hissing sound, peculiarly characteristic of fierce and contemptuous emotion. It may appear, at first view, that this analysis extends beyond emphasis into "expression." But emphasis is, in fact, nothing else than "expression," concentrated and condensed into an accented syllable. For confirmation of this assertion we may refer to the result, in cases of acknowledged imperfect emphasis, that a failure, as regards the full effect of any one of the above elements, produces the fault. Let the student himself bring the matter to the test of his own observation, by uttering the word "coward," six times in succession, dropping, each time, one of the elements of "expression," enumerated in the preceding analysis; and he will perceive that he loses, in every instance, the emphasis of impassioned accent. Similar illustrations might be drawn from all emotions, in turn. But the verification may be left for the practice of oral illustration, by the student, or the teacher. II.-Unimpassioned Emphasis. It may be thought, however, that, although the emphasis of passion does include many elements, the common emphasis of meaning, in unimpassioned intellectual communication, may be sufficiently expressed by mere comparative force of accent. This impression, too, will, on examination, be found erroneous. The simplest distinctive emphasis that can be given, comprises several points of effect, which are easily detected by analysis. We may take, for an example of unimpassioned emphasis, the expressions in the moral of the fable of the Discontented Pendulum, "Let any man resolve always to do right now, leaving then to do as it can; and if he were to live to the age of Methuselah, he would never do wrong." The words "now" and "then," in this passage, are instances of distinctive emphasis: they are marked, 1st, by the usual superior force of utterance, which belongs to important and significant words; 2d, by a jerking stress, repeated at the beginning and end of each "tonic" element of sound in the two words, and constituting what, in elocution, is technically termed "compound stress;" 3d, by the comparatively high pitch on which each of these two words is set, relatively to the rest of the sentence; 4th, by a significant turn or "double slide" of voice, termed the " wave," or, perhaps, in the spirit of very keen and peculiarly marked distinction, - by a double turn, constituting a quadruple "slide" and a "double wave," in the style peculiar to the prolonged utterance of acute verbal distinctions: 5th, by the protracted sound of the words, which is inseparable from the enunciation of significant expressions, in general, but particularly, as just mentioned, from the style of verbal distinctions and subtle discriminations; 6th, by the "oral quality" of voice, with which the words are uttered. By "oral quality" is not meant that "pure or "head tone," which always accompanies unimpassioned and merely intellectual communication,- an utterance addressed to the understanding, and not to the passions, and hence divested of deep 66 pectoral" or harsh guttural" quality, but that distinctly marked and exclusively oral tone, which causes the voice to sound as if it emanated from, or originated in, the mouth alone, and designedly threw the utterance into the shape of a mere process of articulation, dependent, for its whole effect, on the tongue, the palate, the teeth or the lips. All nice distinctions in grammar, in logic, and even in ethics, are given in this purely "oral" form. This mode of voice, is, as it were, the opposite pole to that of deep passion, which is not merely low-pitched, but designedly resounds in the thoracic cavity, and by its hollow" pectoral" effect, seems to emanate from the chest. It indicates, thus, to the ear the presence, as the "oral quality" does the absence, of a deep inward movement of feeling. The effect of the "oral quality," as a part of the emphasis of intellectual distinctions, may be ascertained by the student for himself, if he will utter the words " " in the preceding pas" and "then now sage, first, with "low pitch," and deep " pectoral" murmur, and, afterwards, with " high pitch," and thin "oral" enunciation. A similar analysis may be made on all the constituent elements of unimpassioned emphasis, as enumerated in this paragraph. 66 The reason why, in our analysis of elocution, the consideration of emphasis was postponed to other topics, will now be distinctly per ceived. The appropriate study of emphasis, requires a knowledge of its various constituents. But the previous discussion and exempli fication of these, renders the separate practice of each, under the denomination of emphasis, unnecessary. It will be sufficient, here, to present a few examples of emphasis, for practical analysis, classified in such a manner as to suggest to the student and the teacher the modes of practice best adapted to produce a distinct, impressive, and discriminating emphasis. It will give additional value to all exercises in emphasis, if the examples are thoroughly analyzed, so as to exhibit all the properties of elocution comprised in each. It becomes necessary, once more, to drop, here, a suggestion on the effect of practice, that, in the first course of exercise, the full force of emphasis, in all its characteristics, is the object to be kept in view, so as to gain the power of throwing out the utmost expressive force, when impassioned utterance requires it; but that a subsequent course should be carefully added, so as to bring down and soften the emphasis of unimpassioned language into a quiet and moderate style of expression, marked by chaste and manly reserve. Our current style of professional reading is justly complained of by foreigners, as being mechanical and studied in its emphasis; and our popular oratory, as characterized by violence rather than genuine force. Earnestness, it is true, is the soul of eloquence; but it rarely authorizes vehemence, and never vociferation, a habit which, for the time, degrades man from his rational elevation of humanity to the level of animal life. Emotion, the true source of impassioned emphasis, may be, in the highest degree, vivid, without being turbulent. EXAMPLES OF EMPHASIS. I. Impassioned Emphasis. Fierce Anger and Defiance. [CORIOLANUS, ENRAGED BY THE ACCUSATION OF THE TRIBUNES.]-Shaks 66 peare. ("Aspirated guttural quality:" "Impassioned" and increasing 99 66 expulsive" force: "Compound and thorough stress: High' and progressively rising "pitch :" Downward "third," "fifth," and "octave" in the "slide :" " Emphatically slow movement.") “Call me their traitor !—Thou injurious tribune! Revenge. [OTHELLO, INSTIGATED BY IAGO, AGAINST CASSIO.]-Shakspeare. ("Aspirated pectoral quality:" Intensely "impassioned" "expul sive" force: "Thorough stress :” "Low pitch:" Downward slide," of the "fifth" and "third:" Emphatically deliberate and slow" movement.") 66 "Oh! that the slave had FORTY THOUSAND lives! My great revenge had stomach for them ALL!” Anger and Threatening. [CORIOLANUS, TO THE ROMAN SOLDIERS WHEN REPULSED.]—Shakspeare. ("Aspirated guttural quality:" "Impassioned" force: "Vanishing," ‚” “radical," and "median stress:""High pitch :" "Downward" "slide" of the fifth: "Movement" first "slow, then "quick." "You souls of geese, That bear the shapes of men, how have you run From slaves that apes would beat!-PLUTO and HELL! All hurt behind; backs red, and faces pale With flight and agued fear!—MEND, and CHARGE HOME, Or by the fires of heaven, I'll leave the FOE, And make my wars on YOU: look to 't: COME ON!" Defiance. [EDMUND, IN REPLY TO ALBANY.]—Shakspeare. ("Orotund quality:" " Impassioned "' force: " Thorough stress:" "Middle pitch :" Downward" fifths:" Deliberate "movement.") "What in the world he is, That names me traitor, villain-like he LIES: On him, on YOU, -WHO NOT?—I will maintain My truth and honor firmly." II.-Unimpassioned Emphasis. Emphasis of Designation. [DESCRIPTION OF A BOOKSELLER'S Literary DinneR.]—Irving. "The host seemed to have adopted Addison's idea as to the literary precedence of his guests.-A popular 1 pòet had the post of honor; opposite to whom was a hot-pressed traveller in quarto, with plates. A grave-looking àntiquary, who had produced several sòlid works, that were much quòted and little réad, was treated with great respect, and seated next to a neat, dressy gentleman in black, who had written a thin, genteel, hot-pressed octavo on political economy, that was getting into fashion. Several three-volume-duodècimo men of fair currency, were placed about the centre of the table; while the lówer end was taken up with small pòets, translàtors, and authors who had not as yet risen with much notoriety." Emphasis of Comparison and Contrast in Equal and Single Parts. 2 [EXTRACT FROM A SERMON.] "The high and the low, the rich and the póor, approach, in point of real enjoyment, much nearer to each other, than is commonly imagined. Providence never intended that any state here should be either completely happy, or entirely miserable. If the feelings of pleasure are more numerous and more lively in the higher departments of life, such also are those of pain. If greatness flatters our vanity, it multiplies our dangers. If opulence increases our gratifications, it increases, in the same proportion, our desires and demands. If the poor are confined to a more narrow circle, yet within that circle lie most of those natural satisfàctions, which, after all the refinements of art, are found to be the most genuine and true. Comparison and Contrast in Equal and Double Parts. [HOMER AND VIRGIL.]-Blair. "In Homer, we discern all the Greek vivácity; in Virgil, 1 Usually, a downward slide of the second accompanies the "emphasis of designation." 2 In the parallel or antithesis of equal and single parts, the slides exhibit the intervals of the upward and downward "third.” 3 In contrasts of double parts, the primary members have the "slide" of the "third;" but the inferior ones that of the "second." |