« PreviousContinue »
“Know ye not me? Ye knew me once no mate
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!”
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.
1. The Tremor of Age and Feebleness. (“Pure Tone”: “Subdued” force of Pathos : Tremulous utter
ance, throughout. Pity the sorrows of
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!”
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.)
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.)
5. Extreme Pity. (“ Pure Tone”; “Impassioned” force : Weeping and tremu
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 !”
(" 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.
“ 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
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
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
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.