mainly growing out of such ignorance and want of practice, are the sources of faulty speaking. Examples of the tremor. It should be heard in the congratulatory exultation of Aufidius, the Volscian general, upon finding that Coriolanus was disposed to join the Volscians against his country. All the syllables on which (I think) it should be heard, are marked by italics. Oh! Marcius, Marcius! Each word which thou hast spoke, has weeded from my heart A root of ancient envy: if Jupiter Should from yon cloud speak divine things, and say 'Tis true, I'd not believe them more than thee, All no-ble Marcius! "Why thou Mars! I tell thee, We have a power on foot; and I had purpose Falstaff. "I'll not march through Coventry with them that's flat. No eye hath seen such scare-crows." This is, as the reader will perceive, an extract from Falstaff's ragged regiment; the whole of which, if dramatically read, and little effect can be given to it by a merely plain reading, requires an almost continual chuckle, and is a fine instance for the expression of the tremor, which is required upon almost every syllable. This piece should be practiced for its acquisition. It will be found in the Elocutionist, page 125. Queen Katharine, in commending her daughter Mary to Henry, terminates the affecting bequest, with these words of sorrowful and thrilling tenderness. They re quire, in dramatic reading, the marked expression of the semitone; while the tremor should play throughout, and especially upon the words, "Heaven knows how dearly." "And a little To love her for her mother's sake, that loved him, QUESTIONS TO RECITATION NINTH. 1. What are the circumstances necessary to render the tremulous movement of the voice consistent with the requisitions of the art of elocution? 2. To what emotions is it generally applicable? 3. The student is required to exhibit it on the elements, on a series of words,—on the examples. RECITATION TENTH. FORCE OF VOICE. FORCE of voice may be heard at the beginning of a syllable exclusively, by abrupt percussion; in the middle of its course by swell of voice, increasing from the beginning of the syllable; or it may be conspicuously marked at the termination, or at both ends, or equally throughout the whole body of a syllable. The vowel elements, as we have already shown, can be exploded with a very high degree of sudden force. A long vowel may be made to burst upon the ear at its commencement with great explosive energy, and then the voice, constantly and equably diminishing in volume, may carry it through an extended quantity to its final termination in a delicate vanish. To this commencing force, Dr. Rush has given the name of RADICAL STRESS, because it is effected by the radical part of a syllable. (See p. 76.) We have already spoken of its importance and of the elementary method of acquiring it. This kind of force expresses strong anger and all the passions allied to it. It is appropriate to impetuous mirth, indeed to all the animating emotions; to wrath, joy, hope, exultation, positiveness, and in a greater or less degree, to the different modifications of these states of mind. Radical stress is generally combined with short syllabic quantity, and a consequent rapid movement of the voice in discourse. In the expression of impetuous anger, in dramatic reading the words ought to burst forth like the rapid and successive explosions heard in a display of fire works, cracking upon the ear with a constant repetition of short but vehement impulses. Few actors can give the expression here contemplated, and therefore, rant and mouth to compensate for their want of it. Force, when employed effectively, in right places, is a symbol of energy of feeling. In the delivery of the English language, it is a powerful agent of Oratory; it makes dullness attentive, communicates an impetuous spirit to discourse, and when united with strong intelligence and personal influence, rouses, animates, intimidates, overawes. When employed in a moderate degree under the form of a well marked accent, it gives life and animation to discourse, and makes it what is usually called brilliant. The address of Henry to his troops before the gates of Harfleur may be cited as requiring a high degree of the species of stress just described. The four last lines of Sect. 3, page 308 of the "ELOCUTIONIST," is another instance. Another is the last words of Edward to Warwick, page 327 of that work. Sections 8 and 9, page 343, are other examples. VANISHING FORCE OR STRESS. It has been already shown, that, in ordinary cases, the volume of the voice diminishes during the pronunciation of a long syllable, and that it is weakest at its termination. Now force, may be applied at this very point. Such an application of force, Dr. Rush has called Vanishing Stress, because it occurs at that part of the sylla bles where sound usually vanishes into silence. This kind of stress cannot be well shown on any but a long syllable, because upon a short one, extremities cannot be rendered conspicuous by quantity. The vanishing stress is very distinctly marked in Hiccough. An impressive illustration of its effects may be obtained by attention to the Irish pronunciation, the culiarity of which depends on vanishing stress united with the frequent rise of a third and fifth. pe Let the student turn to the table of the vowel elements, and, selecting one of the long vowels, let him begin it with moderate force, carrying it through any one of the intervals, (say a rising third or fifth) with long quantity making a strong and sudden jerk at its termination, and an impressive exhibition will be made of the kind of stress we are describing. As soon as he has ascertained the nature of the movement he may then practice it upon the other intervals of the scale. It may be also manifested on the consonants susceptible of quantity. This stress is often employed to make the concrete interval of thirds and fifths more conspicuous in interrogation. It expresses impatient ardor, complaint, hasty and irritable interrogation, surprise, and fretfulness. It is often heard in the fretful complaints of children. It is more or less the habit of some voices, as well as a national characteristic. Some striking examples of its use will be given under Emphasis. We would remark, however, that if its application is to be natural, it must be "touched lightly.” In the trials of beginners to verify elements, they are apt to be given in an excessive degree, or in a bungling man |