Vocal Expression: A Class-book of Voice Training and Interpretation

by Katherine Jewell Everts

I

STUDY IN PAUSE AND CHANGE OF PITCH

It is asserted that, "the last word has not been said on any subject." Mr. Hamilton Mabie seemed to me to achieve a last word on the subject of pause when he casually remarked: "Emerson was a master of pause; he would pause, and into the pool of expectancy created by that pause drop just the right word." There seems little to be added to complete the exposition of that single sentence. It surely leaves no doubt in our minds as to the effect to be desired from the use of this element of our vocabulary. How to use it to gain that effect is our problem. First of all, we must cease to be afraid to pause. We hurry on over splendid opportunities to elucidate our text through a just use of this form of emphasis, beset by two fears: fear that we shall seem to have forgotten the text; fear that we shall actually forget it if we stop to think. Think of being afraid to stop to think lest we should stop thinking! That is precisely what the fear indicates. It arises, of course, from a confusion as to the real nature of pause. We confuse pause with its ghost, hesitation. Dr. Curry makes the difference clear for us in his definition of hesitation as an "empty pause." "Empty of what?" you ask. Empty of thought! Of course, an empty pause is a ghastly as well as a ghostly thing to experience. If you have ever faced an audience in one of those "awful" moments when your voice has ceased because your thought has stopped, and when you are painfully aware of a pool of embarrassed sympathy into which you know there is no word to drop, then you have learned the meaning of an empty pause.

On the other hand, if you shall ever face an audience in one of those fateful moments when your voice pauses because your thought is so vital, that you realize both your audience and you must be given time to fully grasp it, and when you are serenely conscious of that "pool of expectancy" into which you know you have just the right word to drop, then you will learn the meaning of a true pause.

Some one has called inflection a running commentary of the emotions upon the thought. Emphasis might well be defined in the same way. The definition would need to be a bit more inclusive, since emphasis includes inflection. Emphasis then may be defined as a running commentary of the thought and emotion of the reader upon the thought of the text he interprets. The words reveal the thought; your valuation of that thought, as you interpret it, is revealed through your vocal vocabulary in voicing it. We, your auditors, can only gather from your emphasis your valuation of the truth or importance of what you are uttering. You may use one or all of the elements of your vocal vocabulary to bring out the thought of a single phrase. The elements of the vocal vocabulary are all forms of emphasis.

Since pause is a cessation of speech it can hardly be called an element of a vocal vocabulary; but it may rightly be called the basis of our vocabulary because it determines our use of the other elements. It behooves us then to make a study of pause before testing our vocabulary as to its other elements.

Here are two texts to be valued by our use of the pause.

EXTRACT FROM THE DIARY OF A BOARDING-SCHOOL GIRL

At midnight, the magic hour as every girl knows for affairs of a purely private and personal nature, when far away at the end of a corridor you can almost hear Miss ——'s peaceful snore, when as the poet aptly put it in this morning's English stunt, "darkness clears our vision which by day is sun-blind"—(I thought Jane and I would die laughing and give it all away when we came to that line in Mr. Lanier's stupid poem),—well, as I say, exactly at that hour my heart began to beat so hard I thought it would wake Madge without the "punch" I had promised to give her when it was time to begin preparations for our grand spread.

From Sidney Lanier's Crystal.

At midnight, death's and truth's unlocking time.
When far within the spirit's hearing rolls
The great soft rumble of the course of things—
A bulk of silence in a mask of sound,—
When darkness clears our vision that by day
Is sun-blind, and the soul's a ravening owl
For truth and flitteth here and there about
Low-lying woody tracts of time and oft
Is minded for to sit upon a bough,
Dry-dead and sharp, of some long-stricken tree
And muse in that gaunt place,—'twas then my heart,
Deep in the meditative dark, cried out: ...

The same hour, midnight, is designated by both girl and poet; the same two words, "at midnight," open the confession and the poem. A pause must follow these words in the reading of either text, and another pause must be made after the qualifying phrase which immediately follows the opening words of either text. But what a difference in the comparative length of the pauses demanded by the two readings! A very different atmosphere attends an hour when it is the time chosen for a school-girl's escapade or set apart for a poet's meditation. And the voice by its use of pause can preserve or destroy either atmosphere. Try it. Make your pauses in reading the school-girl's text of equal length with the pauses the reading of Lanier's poem demands. You will find the result is that overemphasis which has brought such discredit upon the name of "elocution." I once heard a much-advertised reader strain all the elements of her vocal vocabulary in announcing a simple change in her programme. I have heard more than one reader give the stage directions, indicate the scene setting, and introduce the characters in exactly the same voice and with the same use of emphasis which were afterward employed in the most dramatic passages. Of course all the ammunition had been used up before the real battle began, and no one was in the least affected by the firing during the rest of the engagement.

We have said that the use of pause determines the use of all other elements of the vocabulary. This is particularly true of the change of pitch which immediately follows pause. We pause before a new idea to get possession of it; in that pause we measure the idea, and the pitch of the voice changes to accord with that measure. Every change of thought causes a change of pitch, but the degree and direction of change in pitch of the voice depends upon the degree and direction of change in thought values. In the pause the mind takes time to value the new thought, and tells the voice what change it must make. Robert Browning affords the best material for a study in change of pitch, because of his sudden and long parentheses, which can be handled lucidly by a voice only after it has mastered this element of the vocal vocabulary. Abt Vogler offers the voice an excellent opportunity for exercise in change of pitch. I print the first stanza and first line of the second stanza of this poem for your use.

Would that the structure brave, the manifold music I build,
Bidding my organ obey, calling its keys to their work,
Claiming each slave of the sound, at a touch, as when Solomon willed
Armies of angels that soar, legions of demons that lurk,
Man, brute, reptile, fly—alien of end and of aim,
Adverse, each from the other heaven-high, hell-deep removed,
Should rush into sight at once as he named the ineffable Name,
And pile him a palace straight, to pleasure the princess he loved!

Would it might tarry like his, the beautiful building of mine—

Remember, you are to confine your consideration to the one point, change of pitch, not the change of pitch within a word, which is inflection and belongs to another chapter, but to the broad changes of pitch from word to word, phrase to phrase, sentence to sentence, following the intricate changes of the thought.

I leave you to blaze a trail through this forest of ideas. You must find the main road, and then trace the by-paths which lead away from that main road, and in this case, fortunately, come back to it again—which does not always happen in Mr. Browning's "woody tracts of thought." To employ a better figure for vocal purposes, you must cut off the stream, the voice, and trace the bed of this river of thought, following the main channel, and then its branches. You will find the main channel cut by the first and last lines:

Would that the structure brave, the manifold music I build,

· · · · ·

Would it might tarry like his, the beautiful building of mine—

All between, beginning with the second line, "Bidding my organ obey," and including the last words of the eighth line, "the princess he loved," is a branch channel, leading away from and coming back to the main river's bed. But this branch channel is interrupted in turn by its own branch leading away from it and returning with it to join the main bed with the last line we quote. This second branch begins in the middle of the third line with the words, "As when Solomon willed," wanders in this course for five lines, and, rejoining the first offshoot, returns to the main channel with the last line. Now turn on the stream, the Voice, and watch it flow into the course as traced. Analyze the reading as to the use of pause and change of pitch.