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“Know ye not me? Ye knew me once no mate
For you ; there sitting where ye durst not soar :
Not to know me argues yourselves unknown,-
The lowest of your throng."

Violent Grief. Lady Capulet, (on the apparent death of Juliet.] (" Aspirated pectoral and oral Quality" : "Explosive" utter

ance : “Impassioned ” force : Violent " stress.”) Accursed, unhappy, wretched, hateful day! Most miserable hour that ere time saw, In lasting labor of his pilgrimage!”

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When, by the hysterical or excessive force of impassioned feeling, the breath is agitated into brief successive jets, instead of gushing forth in a continuous stream of unbroken sound, a tremor, or tremulous effect of voice, is

produced, which breaks its “stress into tittles or points; much in the same way that a row of dots may be substituted to the eye, for one continuous line. The human voice, in the case now in view, is as appropriately said to “tremble,” as when we apply the term to the shivering motion of the muscular frame.

The "tremor" of the voice is the natural expression of all emotions, which, from their peculiar nature, are attended with a weakened condition of the bodily organs; such as extreme feebleness from age, exhaustion, sickness, fatigue, grief, and even joy, and other feelings, in which ardor or extreme tenderness predominates.

In the reading or the recitation of lyric and dramatic poetry, this function of voice is often required for full, vivid, and touching expression. Without its appeals to sympathy, and its peculiar power over the heart, many of the most beautiful and touching passages of Shakspeare and Milton, become dry and cold. Like the tremolo of the accomplished vocalist, in operatic music, it has a charm for the absence of which nothing can atone; since nature suggests it as the genuine utterance of the most delicate and thrilling emotion.

The perfect command of “tremor,” requires often-repeated practice on elements, syllables, and words, as well as on appropriate passages of impassioned language.

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1. The Tremor of Age and Feebleness. (“Pure Tone”: “Subdued” force of Pathos : Tremulous utter

ance, throughout. Pity the sorrows of

a poor

old

man, Whose trembling limbs have borne him to your door, Whose days are dwindled to the shortest span;

Oh! give relief; and Heaven will bless your store!”

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2. Exhaustion and Fatigue. (" Aspirated pectoral and oral Quality”: “ Suppressed" force :

“ Tremor," throughout.) Adam, [to Orlando.] “ Dear master, I can go no farther : Oh! I die for food! Here lie I down, and measure out my grave. Farewell ! kind master.”

(Pure Tone" :

“ Subdued ” force of Pathos : Occasional tremor of Tenderness.)

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Orlando, [to Adam.] “ Why, how now, Adam ! greater heart in thee? Live a little ; comfort a little; cheer thyself a little. For my sake be comfortable; hold death awhile at the arm's end : I will here be with thee presently. Well said ! thou look'st cheerily : and I'll be with thee quickly. — Yet thou liest in the bleak air : Come, I will bear thee to some shelter. Cheerly, good Adam!"

3. Sickness. King John, (on the eve of his death, to Faulconbridge.] (" Aspirated pectoral Quality": “Suppressed” force : Gasping

and tremulous utterance.) O cousin, thou art come to set mine eye: My heart hath one poor string to stay it by, Which holds but till thy news be uttered ; And then all this thou seest, is but a clod And module of confounded royalty.”

4. Excessive Grief. Eve, (to Adam, after their fall and doom.] ("* Aspirated pectoral and oral Quality" : "Impassioned ” force :

Weeping utterance : Tremor," throughout.)
Forsake me not thus, Adam : witness heaven
What love sincere, and reverence in my heart
I bear thee, and unweeting have offended,
Unhappily deceived: thy suppliant,
I beg, and clasp thy knees; bereave me not,
Whereon I live, thy gentle looks, thy aid,
Thy counsel in this uttermost distress,
My only strength and stay: forlorn of thee
Whither shall I betake me, where subsist ? ”

5. Extreme Pity. (“ Pure Tone”; “Impassioned” force : Weeping and tremu

lous utterance.)
Miranda, [to her father.] “Oh! I have suffered
With those that I saw suffer ! a brave vessel,
Who had, no doubt, some noble creatures in her,
Dashed all to pieces. Oh! the cry did knock
Against my very heart! Poor souls! they perished.
Had I been any god of power,

I would
Have sunk the sea within the earth, or ere
It should the good ship so have swallowed, and
The freighting souls within her !"

6. Joy and Admiration. [Alonzo's exclamation, on beholding his son Ferdinand,

whom he had supposed drooned.] (“Pure Tone" · Impassioned expulsive” force : “ Tremor "

of joy, throughout.)

“ Now all the blessings Of a glad father compass thee about !”

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(" Pure Tone": “Impassioned expulsive” force : Ecstatic

tremor" of joy, wonder, and love.) Miranda. “Oh! wonder ! How many goodly creatures are there here! How beauteous mankind is! Oh! brave new world, That has such people in 't!”

The various modes of stress " have been so copiously illustrated, that it seems unnecessary to add special exercises, at the close of this chapter. Before proceeding to the next subject, however, the student will derive much benefit from reviewing the examples of the different forms of “stress," and practising them in conjunction with the elementary sounds and combinations, and with the addition of the following words, as classified for this purpose.

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Gag

Subtonics." Maim Nun Rap Far Sing Babe Did madam nine rip bear hang bulb died

gig mime rock hear tongue bib

dared Gog Valve Zone Azure Ye Woe Lull THine Joy revolve zeal measure yon way

loll THey judge velvet zest pleasure you war lily THan jar

noun

Atonics."

Pipe Tent Cake Fife Cease He Thin Push Church pulptat cark fief assess hail thank hush chaste pop

tut casque fitful stocks hand thaw harsh chat

Words comprising elements of opposite character and for

mation.

Awe An Arm End | Eve In Ooze Up Ice In Old On all add ah! ebb eel if fool us

lisle if I own odd always at art ell

poor ugh!sides it lore off

ear it

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Teachers who are instructing classes, will find great aid in the use of the black board, for the purpose of visible illustration, in regard to the character and effect of the different species of “stress.” Exercises such as the following, may be prescribed for simultaneous practice in classes.

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