TIME
Including Poise and Rhythm
The significance of time is determined by the movement of any selection, or, in other words, the rhythm. It will be noticed that a selection may be read with rhythmical effect and be made quite impressive without much emphasis of other characteristics. However, the responsiveness of the voice in variety of pitch, quality, and power is also a very large factor in the illumination of the pause. The pause, as a mere interruption of sound, has little significance, but the relations that the different sounds bear to each other lend significance to the pause. A pause should always suggest an orbit of thought. These characteristics of expression can be made effective only by the practice of concentration in the mind itself upon the thoughts to be suggested. Nevertheless, the quick responsiveness of one's sensibilities in the expression of the various qualities developed by the cultivation of the voice greatly facilitates the manifestation of the thought itself.
All selections of a high order have relation to rhythm in their composition, and that style of movement in the composition should find its ready response in the organism of the speaker or reciter. It should be remembered that the sense of rhythm may be misapplied, as may any other element, by allowing the mind to go off into the sensation of "jingle" without reference to its expression of the thought or its relation to the thought. But if the sense of rhythm is duly developed, and then this sensibility, as well as all others, is surrendered to the service of the thought, it furnishes an element of beauty which cannot easily be dispensed with. The reason we associate rhythm with the significance of time is that rhythm is a measurer of time.
In connection with this step the practice of melodies is useful, if one has musical taste. Simple, familiar melodies are best—such as "The Last Rose of Summer," "Annie Laurie," "Flow Gently, Sweet Afton," etc., etc. The importance of rhythm is well expressed by Emerson, who said that the rhythm of Shakespeare's verse was always the outcome of the thought.
The term "ellipse" has been sometimes used to express the implied action of the mind during the pause—describing an orbit of thought implied but not stated in the words.
The illumination of the pause, or the responsiveness of the voice, in exhibiting those modifications of quality which give significance, may be greatly enhanced by the practice of such selections as express much beauty of thought and variety of significance,—such as Shelley's "The Cloud,"—things which are somewhat philosophical in their significance; by selections which suggest much more than is definitely stated,—"Aux Italiens," by Owen Meredith, "He and She," by Edwin Arnold, "Evelyn Hope," by Robert Browning; also chapters from philosophy that is poetically expressed, such as Emerson's "Essays." In practising these for the special development of significance every effort should be made to realize the thought quality in the voice, so that each word may seem to picture forth the full truth that lies behind it, and that all shall move in such harmony as to suggest the deeper meanings. The quality of expressiveness, or clear response to thought in the voice, it will be observed, is secured through the ready service of all its powers under the influence of the mental concept. It is to be attained by the attitude of receptivity and the effort to think through the voice.
This form of expression in voice corresponds to the suggestive in art, and when the student has attained the power of fulfilling its requirements his work can be called artistic. One should never attempt to measure his progress by listening to himself directly; but keeping the ideal in mind, he may come to realize himself as harmonizing with that, and a sense of freedom from limitation will at last crown his endeavors.