8.

Grasping ten thousand thunders, which he sent
Before him, such as in their souls infix'd

Plagues. They, astonish'd, all resistance lost,
All courage; down their idle weapons dropp'd; -
O'er shields, and helmets, and helmed heads, he rode,
Of thrones and mighty seraphim prostrate,

That wish'd the mountains, now, might be again
Thrown on them, as a shelter from his ire.
Nor less on either side, tempestuous fell
His arrows, from the fourfold visaged four;
Distant with ages, and from the living wheels
Distinct alike with multitude of eyes.

One spirit in them ruled; and every eye
Glared lightning, and shot forth pernicious fire

Among the accursed, that wither'd all their strength,
And, of their wonted vigor, left them drain'd.

CHAPTER VI.

MODULATION.

MODULATION implies the variations of the voice that are heard in reading or speaking.

Good reading depends very much upon a proper modulation. When skillfully employed, it gives life, spirit, and beauty, to what would otherwise be monotonous and uninteresting.

In order for a reader or speaker to acquire a free, easy, and natural control of his vocal organs, it will be necessary, in the first place, to become perfectly familiar with all the elementary sounds. These have already been presented on a preceding page, and when uttered as there directed, must necessarily

QUESTIONS. What is modulation? What effect has it when skillfully employed' How may a reader acquire a free, easy, and natural control of his voice?

receive a concentration of organic effort, that will be likely to accompany their utterance when combined, and thus secure a more distinct articulation of words.

In the next place, as has also been recommended, it will be important, frequently to practice the pronunciation of such syllables and words as contain a combination of elements of difficult articulation; and, in connection, to take up short sentences and give them all the varieties of intonation and inflections, with all the vocal keys and forms of utterance. In addition to exercises of the above character, the practice of often reading and speaking with a clear, distinct, and forcible enunciation, is also strongly recommended.

Such exercises, will not only improve the voice in all its essential requisites, but will also strengthen the lungs, invigorate the muscular system, and contribute much to bodily health.

Modulation embraces several distinct principles, among the more important of which are, —

I. EXPRESSION.

II. TRANSITION.

III. PERSONATION.

IV. RHETORICAL PAUSE.

SECTION I.

EXPRESSION.

EXPRESSION implies the peculiar tones of voice, and the manner of utterance expressive of the thoughts, feelings, and emotions of the reader or speaker.

Expression includes several particulars, which are important to be explained before giving any rules or directions as aids to its proper application :

QUESTIONS. What will be the effect of such exercises? modulation are introduced in this work? What is expression?

are explained under expression?

Ꮐ

What principles of
What particulars

1. Pitch.

PITCH of voice refers to the note or key, on which we read or speak.

In every person's voice, this key-note may have as many variations as the notes on the scale of music; but it is sufficient for all practical purposes, to consider it as having only three general distinctions.

1. The high pitch, as heard when the voice is raised above the ordinary conversational tone, or in calling to a person at a distance.

2. The middle pitch, as heard in common conversation.

3. The low pitch, as heard when the voice falls below the conversational tone, or in the grave under-key.

The pitch or key must always be governed by circumstances. The character of the subject, the largeness of the audience, and the space to be filled by the voice of the speaker, will be his best guide. He should not commence too abruptly on a high key, nor on one so low as scarcely to be audible at a medium distance; but, on one so graduated, as to admit sufficient compass above and below it, to enable him to rise and fall with ease, and thus, without any unnatural effort, to be heard by the entire audience.

2. Quantity.

QUANTITY is here used to signify the volume or loudness with which one speaks on the same key or pitch.

Learners frequently suppose that loudness means a higher note, and when requested to "speak louder," immediately raise the key, without increasing the quantity. A person may, however, speak loud or soft on the same note or key. Almost any

QUESTIONS. What is pitch? How many general distinctions has pitch? What are they? What is the best guide to an appropriate pitch in reading or speaking? What caution is here given? What is quantity? What mistake do learners sometimes make in regard to it?

voice, although naturally weak and feeble, may, by proper exercise, be so trained, that the utterance of sentences can be given with rotundity and fullness, as well as comparative ease. To gain this point, it will be necessary to practice repeating sentences on the same key, but with a gradual increase in the volume of sound at each repetition.

To illustrate this, the following sentence may first be spoken in a very feeble voice, and then repeated on the same pitch, doubling the quantity at each repetition. The dots at the end of the sentence, exhibit to the eye the increase of volume at each reading.

Banished from Rome!.

Banished from Rome!

Banished from Rome!

Banished from Rome!

Banished from Rome!

Banished from Rome!

3. Compass of Voice.

COMPASS of voice in reading or speaking, includes both the power or capacity to range above and below the governing key-note, and the requisite degree of force and volume in delivery.

It comprises every variety of force and volume, and every distinction of tone on the ascending and descending scale of sounds, so far as a clear and distinct articulation can be preserved. Hence, the cultivation of the voice in this respect, should in no case, be neglected. It is of the utmost importance to the public speaker, and he should spare no pains to acquire so perfect a control of his voice, that he can adapt it to all kinds of composition, from language involving the most

QUESTIONS. How may rotundity and fullness of voice be acquired? What exercise is recommended? What is compass of voice? What does it comprise? What is said of its importance?

spirited sentiment and emotions, to the grave, dignified, and solemn.

To aid in accomplishing this desirable end, the student should be exercised in pronouncing short sentences on a key as low as distinct, articulate utterance can be made, and required to repeat them with increased elevation of voice, till the highest note of distinct articulation is reached. It may also be useful to reverse the order, beginning on the highest key, and gradually descending to the lowest.

EXAMPLES.

We have opened our doors to emigrants. | Our invitation has been accepted. | Thousands have come at our bidding. | Thousands more are on the way.

4. Stress.

STRESS has particular reference to the force or impulse of utterance, and characterizes sound as forcible, faint, or median.

Stress of voice on emphatic words, necessarily modifies the rate of utterance. Emphatic force is always designed to mark the sense; and a good reader or speaker, in uttering words peculiarly significant, naturally pronounces them more forcibly, protracting the sound, more or less, in accordance with the spirit of their import.

5. Movement.

MOVEMENT refers to the time or rate of uttering words and sentences.

It may be quick, moderate, or slow, according to the character of the composition to be read.

QUESTIONS. How may compass of voice be acquired? What is stress? How does it characterize sound? What is said of the influence and importance of stress? What is movement? What are its distinctions?