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Did you give me eight'?
I gave you nine“. Did you give me nine'?
I gave you ten'. Did you give me ten'?
I gave you eleven'. Did you give me eleven'?
gave you iwelve'.
The "ising, followed by the Falling Inflection.
The Falling, followed by the Rising.
They acted cautiously', not incautiously'. The following plate may denote the manner of the upward and downward slide or inflection :
Did he say
Inflection is merely the outline of Eloquence. Feeling and passion fill up the picture; and to these alone, must be attributed that variety, which adorns, and renders speech impressive. Such is the power of the intellectual, cver the inaterial part of our nature, that all our bodily organs are influenced by their powerful agency. In particular, the voice is attuned, and the eyes are impregnated by the feeling or passion, which engrosses the soul.
EXERCISES ON THE INFLECTIONS.
Blessed' are the poor in spirit'. Blessed' are the meek'.Blessed' are the peace-makers'.
Let your light so shine before men', that they may see your good works', and glorify your Father' which is in heaven'
And now abideth faith', hope", charity'; these three: but the greatest of these'-is-charity
When all thy mercies', O my God',
My rising soul surveys'-
In wonder', love", and praise'. Correct articulation', is the most important exercise of the voice', and of the organs of speech'.
The sorrow for the dead', is the only sorrow' from which we refuse to be divorced'.
Age', that lessens the enjoyment of life', increases our desire of living
Christianity' bears all the marks of a divine original. It came down from heaven', and its purpose is to carry us up thither'.
Year' steals upon us' after year'. Life' is never still for moment', but continually', though insensibly', sliding into a new form' Infancy' rises up fast to childhood'-childhood 10 youth-youth passes quickly into manhood', and the gray hair' and the fading look', are not long in admonishing us", ilial old age is near at hand'.
MODULATION. The modulation of the voice is the proper management of its tones, so as to produce grateful melody to the ear. Upon the modulation of the voice depends that variety, which is so pleasing and so necessary to refresh and relieve the ear in a long oration. The opposite fault is monotony, which becomes at last so disagreeable as to defeat altogether the success of a public speaker, -as far as to please is any part of his object, -by exciting the utmost impatience and disgust in his audience. To the variety, so grateful to the ear, not only changes of lone are requisite, but, also, changes of delivery.
According to the subject, the rapidity of the utterance varies, as the time of the different movements in music. Narration proceeds equably; the pathetic, slowly; instruction, authoritatively; determination, with vigour ; and passion, with rapidity; all of which are analogous to the andanté, the cantabile, the allegro, the presto, and other musical expressions.
The modulation of the voice is one of the most important requisites in a public speaker. Even to the private reader, who wishes to execute his task with pleasure to others, it is a necessary accomplishment. A voice which keeps long in one key, however correct the pronunciation, delicate the inflection, and just the etaphasis, will soon tire the hearer.
The voice has been considered as capable of assuming three keys, the low, the high, and the middle. This variety is undoubtedly too limited; but for the first lessons of a student, it may be useful to regard the classification. A well trained voice is capable of ranging in these with various degrees of loudness, softness, stress, continuity, and rapidity.
Modulation includes also the consideration of time, which is natural in the pronunciation of certain passages. The combinations, then, of pitch, force, and time, are extremely numerous: thus, we have low, loud, slow ; low, soft, slow; low, feeble, slow ; low, loud, quick, &c.; middle, loud, slow; middle, soft, slow; middle, feeble, slow, &c. Thus, we have a copious natural language adapted to the expression of every emotion and passion.
The application of these qualities of the voice in the expression of emotion, would lead us into a field of inquiry too wide for a volume such as this : the taste of the teach er will readily suggest to the pupil what is wanting here. A few passages, however, may be given here as fit exercises for particular combinations of these qualities.
SLOW, CONTINUOUS. Our Father which art in heaven, Hallowed be thy name.-Thy kingdom come. Thy will be done in earth, as it is in heaven. Give us this day our daily bread. And forgive us our trespasses, as we forgive those who trespass against us.And lead us not into temptation, but deliver us from evil; for thine is the kingdom, and the power, and the glory, for ever. Amen.
In addresses to the Deity, little deviation should be made from the key note. The inflections should be little varied -even emphasis should not be strikingly marked.
O thou that rollest above, round as the shield of my fathers ! whence are thy beams, O sun! thy everlasting light? Thou comest forth in thy awful beauty; the stars hide themselves in the sky; the moon, cold and pale, sinks in the western wave. But thou thyself movest alone: who can be a companion of thy course? The oaks of the mountains fall; the mountains themselves decay with years: the ocean shrinks and grows again; the moon herself is lost in the heavens; but thou art for ever the same, rejoicing in the brightness of thy course. When the world is dark with tempests, when thunders roll and lightnings fly, throu lookest in thy beauty from the clouds, and laughest at the storm. But to Ossian thou lookest in vain ; for he beholds thy beams no more; whether thy yellow hair flows on the eastern clouds, or thou tremblest at the gates of the west. But thou art, perhaps, like me, for a season : thy years will have an end. Thou wilt sleep in thy clouds, careless of the voice of the morning. MOURNFULNESS-DESPONDENCY.-LOW, SOFT, MIDDLE TIME,
How ill this taper burns! Ha! who comes here?
That snapes this monstrous apparition-
Oh, coward conscience, how dost thou affright me!
DEEP EMOTION.-LOW, QUICK, BROKEN.
Farewell, farewell, farewell! She does not feel, she does noi feel! Thank heaven, She does not feel her Fazio's last, last kiss ! One other! Cold as stone-sweet, sweet as roses ! CONVERSATIONAL VOICE.-MIDDLE TONE, LIGHT, MIDDLE TIME. Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of our players do, I had as lief the town-crier spoke my lines.And do not saw the air too much with your hands, but use als gently; for in the very torrent, tempest, and, as I may say, whirlwind of your passions, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul, to hear a robustious periwig-paied fellow tear a passion to tatters, to very rags, to split the ears of the groundlings; who, for the most part, are capable of nothing but inexplicable dumb show and noise.
DIGNITY.-MIDDLE TONE, LOUD, SLOW.
EARNESTNESS.—MIDDLE TONE, LOUD, TIME QUICKER. Whom are we to charge as the deceiver of the state ? Is it not the man whose words are inconsistent with his actions ? On whom do the maledictions fall, usually pronounced in our assemblies? Is it not on this man ? Can we point out a more enormous instance of iniquity in any speaker, than this inconsistency between his words and actions ?
REVENGE. -MIDDLE TONE, LOUD, ASPIRATED.