The Ontario Readers: The High School Reader, 1886

by Ontario. Department of Education

It must be said in respect of principles that only broad and easily verifiable ones are of use, and even these may be abused by a too rigorous adherence to them. The best rule that can be given, as indeed it is founded on a principle of widest application, is that laid down in the Fourth Reader:—To give a faithful sympathetic attention to the full meaning and sentiment of what is read, and to manage the voice so as effectively to express this meaning and sentiment; since this will always ensure a certain measure of appropriateness, if not the full perfection of it. And it cannot be too much emphasized that even the fullest knowledge and most patient study can establish for the reading of any selection, or passage, or sentence, none but general directions, since the same words may very frequently be rendered in several ways, with differences of pitch, time, stress, quality, implication, and so on, but with equal effectiveness and equal appropriateness. And, on the other hand, any whole selection, even the simplest, is far too complex in its thought and sentiment to be disposed of in one general analysis, which shall predetermine the pitch, tone, and stress, and the prevailing width of the intervals, and the direction of the inflections; all these will vary from paragraph to paragraph, and from sentence to sentence, even from word to word. To sum up, it may be said that good reading demands as indispensable, quick-witted intelligence, ready sympathy, and a voice so trained as to be flexible and resonant; if the reader have this much endowment his reading will always be effective, and, moreover, appropriate and impressive.

All diction may be roughly described as exhibiting one of three states of feeling: (1) that in which feeling, as it is generally understood, is almost wanting; (2) that in which it is present in some considerable degree; (3) that in which the feeling is present in an extreme degree, dominating the ideas which the several sentences logically express. To the first division, which may be called the diction of discourse, belongs all language indicative of a quiet state of mind—formal statement, narrative, description, simple argument or reasoning: it is the language of all ordinary writing. To the second division, which may be called the diction of sentiment or feeling, belongs all language which indicates that the mind of the speaker, real or supposed, is in a state of moderate excitement; that he is interested in the relation of himself to others, and, consequently, in the effect of his utterances upon them; or that, subjectively, he is interested in himself: it is the language of admiration, reverence, awe, sincerity, dignity, of pathos, supplication, penitence. To the third division, which may be called the diction of passion, belongs all language expressive of deeper excitement and more vehement interest than that described as animating the diction of feeling: it is the language of earnest or anxious interrogation, of passionate ejaculation, of powerful appeal, strong accusation, and fierce denunciation; also, of contempt, derision, scorn, loathing, anger, hate, and so on.

Voice, as we have seen, possesses five generic properties, pitch, force, quality, time, and abruptness; and, in every spoken word, it must assume some mode of each of these properties, manifesting them in co-existence. This conjoint mode, or vocal sign, as it is called, should be the appropriate expression of the thought and feeling of which the word, in its place in the sentence, is the graphical sign. Hence, as each word in a sentence may be said to have its appropriate vocal sign, so each variety of diction may be said to have its appropriate vocal expression,—a latitude of choice in the constituent modes, and a consequent indeterminateness in the resulting expression, being, of course, always conceded.

The appropriate vocal expression for the diction of discourse may be said to consist of the following modes:—normal pitch, simple intonations, and waves of a second, moderate force, the equable concrete varied by slight radical stress, in quality the natural mode, in abruptness sufficient sharpness of opening to effect clear articulation, and in time a moderate rate with effusive utterance.

As the diction rises above this plain unimpassioned character, and becomes more and more informed with feeling and sentiment, the constituent vocal signs, and hence the whole vocal expression, become more and more expressive. In pitch there is frequent variation: in expressions of joy, astonishment, or for command, the voice assumes naturally a somewhat higher elevation; and with equal naturalness it descends below its normal level to utter the language of grave, solemn, and reverential feeling. Again, inasmuch as the interval of the second is the plainest and simplest within the command of the voice, in such diction as we are now considering, intervals of a third, a fifth, or even an octave, may be heard, both in simple intonations and in waves. Force, too, will not be unvaryingly applied, but will be greater or less according as energy or passion may demand. In stress the equable concrete will give place to the radical or to the final, to express energetic resolve; or, in the language of pathos, exaltation, reverence, supplication, and so on, to the median—the most effective of all modes for the expression of such deep feeling as is compatible with slow utterance. In time the rate of utterance will vary with the syllabic quantities, these being short and crisp in the language of vivacious conversation, but extended, and with distinct, attenuated vanishes, in grave and important monologue. In quality, whenever the diction, departing from its simple character, becomes pervaded by some deep emotion, the natural mode will give place to the orotund. And while effusive utterance is always the prevalent mode, it will give place to the expulsive mode or to the explosive, when energy of thought or force of passion requires it so.

Thus, as the diction rises from plain discourse to the language of feeling, the appropriate vocal expression gathers intensity and becomes more varied, assumes, as may be said, brighter colors and displays greater contrasts; and so, in the third class of diction, the diction of passion, it displays its intensest and most vivid modes—its brightest colors, its deepest contrasts.

As it is in a general sense only, that diction can be understood to be referrible to three classes, so also, in a general sense only, can it be understood that any particular sentence or passage has its appropriate vocal expression. All that is intended is simply this: an analysis of the sentence, or passage, or selection, gives to the careful student a certain conception of the quality and intensity of the feeling or passion that pervades it; this is to be interpreted, as well as may be, by the most appropriate vocal signs possible—the whole constituting the vocal expression suitable to the piece. In respect to its pervading emotion, the selection will have what is called a drift, or general tendency, towards one of those states described as characteristic of the diction of discourse, the diction of feeling, and the diction of passion, respectively; and it is the business of the reader to watch for this drift, which of course may vary from passage to passage, from sentence to sentence, and sometimes from word to word, and to interpret it as best he may.

To indicate what modes of voice utterance are naturally most appropriate to the expression of these various emotional states and drifts, it will be best to take up, one by one, the different properties of the voice, and the several modes in which they are manifested, and to state briefly, and in general terms, the emotional state or drift of which it is an appropriate expression. (With respect to quality and abruptness this will be sufficiently done indirectly.) The student then must for himself, if he wishes to apply these results to the reading of any selected passage, first by analysis ascertain what are the emotional states which it involves, what are its prevailing drifts, then in respect to each property of the voice choose the suitable mode for the interpretation of these several states or drifts, conjoin the selected modes into appropriate vocal signs, and with these form the vocal expression that suitably interprets the whole passage. The teacher, or the teacher and student together, should select from the Reader, or elsewhere, sentences or passages that fitly exemplify the different modes; these should be written upon a black-board, or in some other way preserved, and be referred to frequently for practice both in voice culture and in vocal interpretation.

I. Pitch. Pitch must be considered under three heads: first, as referring to the prevailing elevation of tone assumed by the voice in the reading of a whole sentence, passage, or selection, called general or sentential pitch; second, as referring to the degree of elevation assumed by the voice in the utterance of the opening, or radical, of any syllable, called initial or radical pitch; third, as referring to the tone-width of the intervals in the utterance of the syllable concrete.

Sentential Pitch in its various modes is descriptive of the general position in the scale taken by the tones of the voice in uttering a sentence or passage. It may be spoken of as medium, high, and low. Medium Pitch should correspond with the normal pitch of discourse previously described. It is natural to the expression of all unimpassioned thought, and also of all emotions, except the livelier, and the deeper and more intense. High Pitch and Low Pitch are only relative terms. They do not represent fixed and definite modes of utterance; and all that can be said is, that for the interpretation of what may be called the lighter feelings and emotions, such as cheerfulness, joy, exultation, interest, and so on, also for the expression of raillery, facetiousness, humorous conversation, laughter, and the like, sentential pitch of a degree somewhat higher than normal pitch is appropriate; and, on the other hand, for the interpretation of what may be called the graver and deeper feelings, such as awe, reverence, humility, grief, and melancholy, and the more impassioned emotions, as disgust, loathing, horror, rage, despair, as well as for the expression of all very serious and impressive thought, sentential pitch of a degree somewhat lower than normal pitch is appropriate. The degree of elevation and depression must be determined by the judgment and good taste of the reader; but it must be borne in mind that this degree may vary from passage to passage, and from sentence to sentence, and even from phrase to phrase.