Median Stress, as it can be effectively applied to none but indefinite or mutable syllables, is compatible only with such a rate of utterance as will permit of these receiving long quantities. It may receive any degree of force, from that gentle swell which indicates a tranquil flow of emotion, to that firm and swelling energy which is the appropriate expression of the language of elevated feeling. With the wider intervals it should be used only for occasional emphasis; but in its lighter forms it may prevail as a drift of dignified expression. Median stress, being always necessarily associated with long quantity in syllables, is not an appropriate mode in the language of colloquy, or in vivacious discourse of any kind. It is, however, the fit interpreter of that fervid and lofty imagination which clothes itself in forms of grace and grandeur; and hence, with intonations and waves of the lesser intervals, with medium or low sentential pitch, a moderate degree of force, and the pure or orotund quality, it is the appropriate expression of all exalted prose and poetry, not strongly dramatic.
Thorough Stress is effected by continuing the force and fulness of the radical stress throughout the whole concrete. Used as a current mode, which should be but rarely, it is expressive of bluntness, arrogance, bravado; and, with short quantities, of ignorant coarseness. Occasionally it may be used instead of final stress to give emphasis to a syllable whose vanishing movement is but little capable of receiving an increase of force.
Compound Stress combines the qualities of both radical and final stress; it is therefore of extreme character, and can be only occasionally used. With wide intervals, in its stronger modes, it is expressive of the utmost intensity of feeling; in its lighter modes it is the natural expression of strong surprise.
The Loud Concrete is simply the equable concrete uttered with greater fulness of breath and loudness of tone. It is used to break a current of light force for the sake of emphasizing some word or phrase; and, in impassioned discourse, it may be used as a current mode, individual words or phrases being then put in relief by receiving the forcible radical, or thorough, or compound stress.
In reference to stress it must be remembered that, as with all other varieties of emphatic utterance, no one form should prevail as an exclusive mode. Even a prevalent drift of thought or feeling will be most effectively rendered by vocal signs which change in color and intensity from word to word. It must also be borne in mind in reference both to force and stress, and to pitch and time as well, that the modes which are employed must sustain a suitable relation to the situation and surroundings of the speaker. Where considerable space has to be filled and distance overcome, the energy of utterance should be correspondingly intense; but for great distances, what is called level speaking is the only effectual mode,—that is, speaking exclusively in those tones of normal pitch in which the voice has most penetrating power, with force of almost constant intensity, and in a somewhat slow movement with long syllabic quantities, but of course with as much needful variation of expression as is possible within these limits.
IV. Time. Time is rate of utterance. It comprehends quantity, or rate considered in reference to the duration of individual syllables; and movement, or rate considered in reference to the utterance of syllables and words in succession. With it may be considered pauses, or cessations of the voice, helpful in the expression of thought and feeling, and necessary to the working of the vocal mechanism.
Quantity, as defined above, is an arbitrary thing, dependent almost entirely upon the will of the speaker. But many words and syllables are more expressive of their meaning when, in uttering them, the voice is somewhat prolonged,—hence quantity is an element of expression. Again, many words and syllables can receive this prolongation of utterance more readily than others,—hence quantity is a natural element of spoken language. As indefinite syllables are much more capable of prolongation than mutable or immutable syllables, they are said to possess long quantity, or, more shortly, "to possess quantity"; mutable syllables possess quantity in a less degree, and immutable syllables are naturally deficient in quantity.
As an element of expression, quantity (that is, long quantity) lends dignity and grace to the movement of the voice, and affords ground for the display of those expressive modes of vocal action which are incompatible with the rapid or ejaculatory utterance of the concrete; and hence, with median stress, the wave, moderate intervals, medium or low sentential pitch, it is used as naturally interpretative of solemnity, reverence, awe, deep pathos, ardent admiration, and all elevated emotion. Colloquial tones, excited argument, wit, raillery, and all the lighter emotions, require for their expression, brilliancy rather than grace, and so are more fittingly interpreted by short quantities and radical stress.
The discerning reader, in his work of vocal interpretation, will not fail to take advantage of the inherent character of syllables with respect to quantity. Our language abounds in indefinite syllables to which he may impart whatever quantity he may desire. On the other hand, immutable syllables, while not admitting the wave and the median stress, are eminently fitted to receive the more forcible forms of radical stress; and mutable syllables, with their abrupt closes, permit of perfect exemplifications of thorough and final stress.
Movement, though it depends for its slower and more expressive forms upon the capacities of syllables for the reception of long quantities, is, in its more rapid forms, quite independent of syllabic structure, and dependent only on the will of the speaker; hence it may be spoken of as being altogether under his control. A medium rate of utterance is, with respect to time, the natural expression of an equable flow of thought. The livelier emotions should be indicated by quicker rates, and hence, cheerfulness, joy, vivacious dialogue, animated narration, naturally find their expression in movements more or less brisk, with short quantities, varied intonations, and pitch higher than the normal; the more vehement emotions, eagerness, anger, excited anxiety, demand simply heightened forms of these modes. Contrariwise, thought of grave and meditative character, admiration, reverence, and all the deeper and calmer feelings, require a deliberative, slow-timed utterance, with long quantities for accented syllables, and extended time for even unaccented syllables. As these serious emotions become stronger and deeper, the syllabic quantities become proportionately longer, and with impressive median swells, orotund quality, low pitch, waves and simple intonations of the second, frequent phrases in monotone, and an occasional tremor, constitute the most impressive utterance of adoration.