VARIATIONS OF FORCE OR STRESS.
These are known as the Radical, Median, Vanishing, Compound, and Thorough stress.
RADICAL STRESS.
This is used in expressing lively description, haste, fear, command, etc., and consists of an abrupt and forcible utterance, usually more or less explosive, and falls on the first part of a sound or upon the opening of a vowel, and its use contributes much to distinct pronounciation. It is not common to give a strong, full and clear radical stress, yet this abrupt function is highly important in elocution, and when properly used in public reading or on the stage "will startle even stupor into attention." It is this tone that prompts children to obedience, and makes animals submissive to their masters.
1.
Out with you!—and he went out.
2.
There's a dance of leaves in that aspen bower,
There's a titter of winds in that beechen tree,
There's a smile on the fruit, and a smile on the flower,
And a laugh from the brook that runs to the sea!
Bryant.
3.
But hark! that heavy sound breaks in once more,
As if the clouds its echo would repeat;
And nearer, clearer, deadlier than before!
Arm! arm! it is! it is! the cannon's opening roar!
Ah! then and there was hurrying to and fro,
And gathering tears and tremblings of distress,
And cheeks all pale, which but an hour ago
Blush'd at the praise of their own loveliness;
And there were sudden partings, such as press
The life from out young hearts, and choking sighs
Which ne'er might be repeated! Who could guess
If ever more should meet those mutual eyes,
Since upon night so sweet such awful morn could rise?
Byron.
MEDIAN STRESS.
The Median Stress is used in the expression of grandeur, sublimity, reverence, etc., and smoothness and dignity are its characteristics, for it gives emphasis without abruptness or violence. In using this stress, there is a gradual increase and swell in the middle of a sound, and a subsequent gradual decrease—thus giving a greater intensity of voice and dignity of expression than Radical Stress.
1.
Roll on, thou dark and deep blue ocean, roll.
Byron.
2.
We praise thee, O God, we acknowledge thee to be the Lord.
3.
Father! Thy hand
Hath reared these venerable columns; Thou
Didst weave this verdant roof; Thou didst look down
Upon the naked earth; and, forthwith, rose
All these fair ranks of trees. They in Thy sun
Budded, and shook their green leaves in Thy breeze,
And shot towards heaven. The century-living crow,
Whose birth was in their tops, grew old and died
Among their branches, till, at last, they stood,
As now they stand, massy, and tall, and dark,—
Fit shrine for humble worshipper to hold
Communion with his Maker!
Bryant.
4.
How are the mighty fallen! Saul and Jonathan were lovely and pleasant in their lives; and in their death they were not divided; they were swifter than eagles, they were stronger than lions. Ye daughters of Israel, weep over Saul, who clothed you in scarlet, with other delights; who put on ornaments of gold upon your apparel! How are the mighty fallen in the midst of battle! O Jonathan! thou wast slain in thine high places! How are the mighty fallen, and the weapons of war perished!
THE VANISHING STRESS.
The Vanishing Stress occurs as its name implies at the end or closing of a sound or vowel, and is used in expressing disgust, complaint, fretfulness, ardour, surprise, etc. The sound is guttural, and sometimes terminates in sobbing or hic-cough. It has less dignity and grace than the gradual swell of the Median Stress.
1.
Do you hear the rain, Mr. Caudle? I say, do you hear it? But I don't care; I'll go to mother's to-morrow; I will; and what's more I'll walk every step of the way; and you know that will give me my death. Don't call me a foolish woman; 'tis you that's the foolish man. You know I can't wear clogs; and, with no umbrella, the wet's sure to give me a cold: it always does: but what do you care for that? Nothing at all. I may be laid up for what you care, as I dare say I shall; and a pretty doctor's bill there'll be. I hope there will. It will teach you to lend your umbrellas again. I shouldn't wonder if I caught my death: yes, and that's what you lent the umbrella for.
Douglas Jerrold.
2.
CAS. Brutus, bay not me!
I'll not endure it. You forget yourself,
To hedge me in: I am a soldier, I,
Older in practice, abler than yourself
To make conditions.
BRU. Go to! you are not, Cassius.
CAS. I am.
BRU. I say you are not!
CAS. Urge me no more: I shall forget myself:
Have mind upon your health; tempt me no farther!
BRU. You say you are a better soldier:
Let it appear so; make your vaunting true,
And it shall please me well. For mine own part,
I shall be glad to learn of noble men.
CAS. You wrong me every way, you wrong me, Brutus.
I said, an elder soldier, not a better.
Did I say better?
BRU. If you did, I care not!
CAS. When Caesar lived, he durst not thus have moved me!
BRU. Peace, peace! you durst not so have tempted him?
CAS. I durst not?
BRU. No.
CAS. What! durst not tempt him?
BRU. For your life, you durst not!
CAS. Do not presume too much upon my love;
I may do that I shall be sorry for.
Shakespeare.
COMPOUND STRESS.
Compound Stress is the natural mode of expressing surprise, and also— though not so frequently—of sarcasm, contempt, mockery, etc. In using this stress the voice, with more or less explosive force, touches strongly and distinctly on both the opening and closing points of a sound or vowel, and passes slightly and almost imperceptibly over the middle part.
1.
Gone to be married! Gone to swear a peace!
False blood to false blood joined! Gone to be friends!
Shall Lewis have Blanche, and Blanche these provinces?
It is not so; thou hast misspoke, misheard,—
Be well advised, tell o'er thy tale again:
It can not be;—thou dost but say 'tis so.
Shakespeare.
2.
JULIA. Why! do you think I'll work?
DUKE. I think 'twill happen, wife.
JULIA. What, rub and scrub your noble palace clean?
DUKE. Those taper fingers will do it daintily.
JULIA. And dress your victuals (if there be any)? O, I shall go mad.
Tobin.
THOROUGH STRESS.
Thorough Stress is used in expressing command, denunciation, bravado, braggadocio, etc. This stress has a degree of force a little stronger than the compound stress, and it is produced by a continuation of the full volume of the voice throughout the whole extent of the sentence. When the time is short the tone resembles that of uncouth rustic coarseness.
1.
These abominable principles, and this more abominable avowal of them, demand the most decisive indignation.
2.
Now strike the golden lyre again;
A louder yet, and yet a louder strain':
Break his bands of sleep asunder,
And rouse him, like a rattling peal of thunder'.
Hark! hark! the horrid sound
Has raised up his head,
As awaked from the dead;
And amazed he stares around.
Revenge! revenge.
Dryden.
SEMITONE.
The progress of pitch through the interval of a half tone. It is called also the Chromatic melody, because it expresses pity, grief, remorse, etc. It may colour a single word, or be continued through an entire passage or selection.
1.
The New Year comes to-night, mamma, "I lay me down to sleep,
I pray the Lord"—tell poor papa—"my soul to keep,
If I"—how cold it seems, how dark, kiss me, I cannot see,—
The New Year comes to-night, mamma, the old year dies with me.
The Semitone is very delicate, and must be produced by the nature of the emotion. An excess, when the mood or language does not warrant it, turns pathos into burlesque, and the scale may very easily be turned from the sublime to the ridiculous. Strength, flexibility, and melody of voice are of little worth if the judgment and taste are defective.
MONOTONE
Is a sameness of the voice, indicating solemnity, power, reverence, and dread. It is a near approach to one continuous tone of voice, but must not be confounded with monotony. Much of the reading we hear is monotonous in the extreme, while the judicious use of the monotone would sufficiently vary it, to render it attractive. Monotone is of great importance in reading the Bible, the beautiful words of the Church Service, and in prayer, and the haste with which these solemn words are often slurred over, is much to be deplored. Monotone is usually accompanied by slow time, and it is, in fact, a low Orotund.
1.
The heavens declare the glory of God, and the firmament showeth His handy work. Day unto day uttereth speech, and night unto night showeth knowledge. There is no speech nor language, where their voice is not heard.
Bible.
2.
These, as they change, Almighty Father! these
Are but the varied God. The rolling year
Is full of Thee.—
And oft Thy voice in dreadful thunder speaks;
And oft at dawn, deep noon, or falling eve,
By brooks and groves, in hollow-whispering gales.
In Winter, awful Thou! with clouds and storms
Around Thee thrown, tempest o'er tempest rolled—
Majestic darkness! On the whirlwind's wing,
Riding sublime, Thou bidd'st the world adore,
And humblest Nature, with Thy northern blast.
Thomson.
3.
Now o'er the one-half world
Nature seems dead; and wicked dreams abuse
The curtain'd sleep; now witchcraft celebrates
Pale Hecate's off'rings; and wither'd murder,
Alarum'd by his sentinel, the wolf,
Whose howl's his watch,—thus with his stealthy pace,
With Tarquin's ravishing strides, towards his design
Moves like a ghost.—Thou sure and firm-set earth!
Hear not my, steps, which way they walk; for fear
The very stones prate of my whereabout,
And take the present horror for the time
Which now suits with it.
Shakespeare.