Notice the slides in the following: The bride kissed the goblet: the knight took it up, So stately his form, and so lovely her face, While her mother did fret, and her father did fume, I had rather be a dog and bay the moon, SHAKESPEARE. VOLUME. The emphasis of volume is largeness or fullness of tone added to the forms of emphasis already noticed. It is never used alone. It expresses magnitude, vastness, deep and noble emotion. Hold the thought of the following in mind until the volume of voice comes naturally, not mechanically. Around thee and above Deep is the air and dark, substantial, black, S. T. COLERIDGE. Roll on, thou deep and dark-blue Ocean-roll! FORCE. The emphasis of force is greater stress of voice on words or syllables. The emphasis of volume has breadth and vastness; the emphasis of force, strength, will, directness. It gives strength and decision to speech. Study the thought of the following selection until you feel its fire and its force. Read it aloud repeatedly, endeavoring each time to speak to your audience, directly, earnestly, and with determination in your voice: Once more unto the breach, dear friends, once more, In peace there's nothing so becomes a man As modest stillness and humility; But when the blast of war blows in our ears, Hold hard the breath, and bind up every spirit I see you stand like greyhounds in the slips, Straining upon the start. The game's afoot: Cry God for Harry, England and Saint George!' SHAKESPEARE. Shylock [Aside]. How like a fawning publican he looks! I hate him for he is a Christian; But more for that in low simplicity He lends out money gratis and brings down The rate of usance here with us in Venice. I will feed fat the ancient grudge I bear him. SHAKESPEARE. THE PAUSE.* The emphasis of pause is that lingering of the voice on an important word or words, or that pause before or after an important word, which is due to deep feeling. Mere mechanical pauses are the marks of the unskilled workman; pauses packed with thought and feeling are the marks of the artist. As you read the following selection, think of the poet improvising at the organ, and imagine the music. Read slowly. Think ahead, and feel the beauty of the thought before you utter it. *For emphasis of pause, read "The Ballad of Baby Belle," by T. B. Aldrich. THE LOST CHORD Seated one day at the Organ, I know not what I was playing, It flooded the crimson twilight, Like the close of an Angel's Psalm, It quieted pain and sorrow, Like love overcoming strife; It linked all perplexed meanings I have sought, but I seek it vainly, That came from the soul of the Organ, It may be that Death's bright angel It may be that only in Heaven ADELAIDE PROCTER. DIVISION II INTERPRETIVE READING THAT APPEALS TO THE EMOTIONS The steps in Division I. deal with the study of the thought and the mechanics of delivery that will make the thought clear to the understanding of the listener. The steps in Division II. appeal not only to the understanding, but to the emotions of the listener. The steps in Division II. are as follows: I. Word pictures. II. Atmosphere. III. Tone color. IV. Rhythm. Movement. V. Personation. CHAPTER I Word Pictures First, concentrate the mind on the literature studied in order to see the word pictures vividly. Give the imagination full play, because you cannot make others see vividly what you do not yourself see. By expression of voice and face and body, try to interpret to others the picture that you see. In locating the parts of a picture, place them a little to the right or left rather than directly front. Apply the laws of perspective in the composition of gesture pictures. 29 |