The first sign or expression of life is rhythm. All life begins and ends in rhythm, and accordingly, rhythm is the basis of all naturalness. In vocal expression the rhythmic process of thinking, the successive focussing and leaping of the mind from idea to idea, must be revealed by the rhythmic alternation in speech of pause and touch.
Without these, genuine thinking cannot be expressed in speaking. The pause indicates the stay of attention; the touch locates or affirms the centre of concentration. The mind receives an impression in silence, and speech follows as a natural result.
The interpretation of a poem or any work of literature demands an intensifying of the processes of thinking, and the pause and touch constitute the language by which this increase of thinking is expressed. A language is always necessary to the completion or, at least, to the accentuation of, any mental action. The impression received from each successive idea must be so vivid as to dominate the rhythm of breathing, and the expansion and other actions of the body.
The progressive movement of mind from idea to idea implies consequent variation and discrimination more or less vigorous. This is revealed by change of pitch in passing from idea to idea or phrase to phrase, and the extent of this variation is due, as a rule, to the degree of discrimination in thinking.
In the employment of these three modulations, pause, touch, and change of pitch, each implies the others. The degree of change in pitch and the vigor of touch justify the length of pause. Lengthening the pause without increasing the touch suggests tameness, sluggishness, or dullness of thought.
Notice the long pauses, the intense strokes of the voice, and the decided changes of pitch harmoniously accentuated, which are employed to indicate the depth of passion in rendering “In a Year” (p. [201]). Pauses are of special importance in a monologue. This woman shows by long pauses and abrupt changes her struggle to comprehend the real meaning of the coldness of the man whom she loves,—to whom she has given all. The touch and the changes of pitch show the abruptness and the intensity of her passion.
The careful student will further perceive an inflection in conversation, or change of pitch, during the utterance of the central vowel of each word, and a longer inflection in the word standing for a central idea. Inflections show the relations of ideas to each other, the logical method, the relative value of centres of attention, and the like. Marked changes of topics, for example, will be indicated by a long inflection upon the key-word.
In rendering Browning’s “One Way of Love,” the word “rose” in the first line is given saliency. It is the centre of his first effort. Note the long pause followed by decided rising inflections on the words:
“She will not turn aside?...”