She had not perceived—how could she until she had lived longer?—the inmost truth of the old monk's outpourings, that renunciation remains sorrow, though a sorrow borne willingly.
He (Mr. Pickwick) would not deny that he was influenced by human passions, and human feelings, (cheers)—possibly by human weaknesses—(loud cries of "No"); but this he would say, that if ever the fire of self-importance broke out in his bosom, the desire to benefit the human race in preference, effectually quenched it.
Passages which are collateral or co-ordinate in construction, and equally balanced, will find their natural vocal expression in the same pitch and, of course, the pitch varies as the attitude of the mind changes:
Forty flags with their silver stars, Forty flags with their crimson bars, Flapped in the morning wind: the sun Of noon looked down and saw not one.
The first two lines have the same pitch, because there is no difference in intensity of feeling or in the mental conception. There is, however, an entire change of thought beginning with "the sun." This is accompanied by a change of pitch.
Force. Force is vocal energy; in other words, it is the power or volume of the voice, and is determined by the amount of physical and mental energy exerted by the speaker.
The language of everyday conversation, when not marked by intensity of feeling or purpose, requires only a moderate amount of physical and mental energy and is expressed by moderate force. Intensity of feeling or purpose, on the other hand, is accompanied by a great expenditure of energy, and finds its natural outlet in strong force. In the following lines, (p. [132]) the king's emphatic approval of De Lorge's action and his vehement condemnation of the lady's vanity find expression in strong force:
"In truth!" cried Francis, "rightly done!" and he rose from where he sat:
"No love," quoth he, "but vanity, sets love a task like that!"