Negatives ideas:-doubtfulness, uncertainty, timidity deference to the will of another, take the rising slide-as 1. Where are you going, my pretty maid? 2. Are you sure of it? If a negative idea be contrasted with a positive idea, both slides are used. The fault, dear Brutus, is not in our stars, But in ourselves, that we are underlings. To express what is insinuated or double in meaning, such as irony and sarcasm we have the compound inflection known as the rising circumflex, which is negative in nature, and the falling circumflex, which is positive in character. V 1. Poor man! I know he would not be a wolf, But that he sees the Romans are are but sheep 2. Do you think for one moment that I fear you? Fear you! You hothouse flower, you silver pheasant, who never did ought but spread your dainty colors in the sun, and never earned so much as the right to eat a piece of black bread, if you had your deserts. You Λ beautiful, useless, painted, exotic, that has every wind tempered to you, and thinks the world only made to bear the fall of your dainty Λ foot! (emphatic nee xxii VOICE CULTURE PRINCIPLE XI. Emphasis is simple force. Stress is the manner of applying that force. You may emphasize the right word but not in the right way, that is, not give it the proper stress. There are six forms of stress, known by the following names and characteristics: IN READING. 1. Radical (initial) > 4. Thorough (through) == 5. Compound (composed of two) >< IN MUSIC. Explosive. Crescendo. Organ tone. Tremulo. The radical stress, as the sign or character indicates, is somewhat explosive in its nature. It may be used in light, or conversational reading; and when judiciously done, lends life and sparkle to what would otherwise be dull, thus giving clearness and decision to the utterance. It is also used in abrupt or startling emotion, and in the expression of positive convictions. Great care should be taken in the use of this stress, to avoid the tendency to the high, light, narrow, contracted tones so often used upon the platform when addressing large audiences, thinking it necessary to raise the pitch of the voice instead of increasing the power. The prevailing school-room tone is a fair sample of the radical stress misapplied. The voice is pitched so high as to make it cold and disagreeable in its quality, being simply a statement of facts, without any heart-element in it, and much less vitality. This arises largely from the fact that the schools develop the mental at the expense of the moral (heart) and vital (body) growth. Example 1. "To arms! to arms? to arms! they cry, Grasp the shield and draw the sword; Lead us to Phillipa's lord: Let us conquer him or die!" Example 2. Insects generally, must lead a jovial life. Think what it must be to lodge in a lily. Imagine a palace of ivory and pearl, with pillars of silver and spires of gold, and exhaling such a perfume as never arose from human censer. Fancy, again the fun of tucking one's self up for the night in the folds of a rose, rocked to sleep by the gentle sighs of summer air, and nothing to do when you awake, but to wash yourself in a dewdrop, and fall to eating your bed clothes. ers. The median stress, as the character indicates, is caused by swelling the tone in the centre of the sound of the word to be emphasized. This represents the moral or heart-element and should penetrate all othA statement of facts-exclusively mental-is, of itself, cold and heartless. The purely mental deals with the details; the moral and the vital, never. The median stress should be used in all selections of an emotional nature. Its use in conversation shows culture and refinement; the lack of it is a cation of the lack of refinement. sure indi Only their deeds and names are ours-but for a century yet, of pine. The Final Stress, as the character indicates is abrupt at the close of the sound. It is vital in its nature and is used to express determined purpose, stern rebuke, horror, revenge, hate and similar passions. Example. Blaze with your serried columns! I will not bend the knee; But I'll swim the sea of slaughter till I sink beneath the wave! The Thorough Stress as the character indicates is a fullness and steadiness of tone used in calling or shouting to such a distance as to necessitate a prolonged or sustained volume of voice. Examples. 1. Boat ahoy! 2. Forward the Light Brigade! 3. Strike-till the last armed foe expires! The Intermittent Stress, as the character indicates, is broken. It is indicative of sadness, weakness, extreme tenderness, extreme joy. Example. 1. Oh! then I see queen Mab hath been with you. Drawn by a team of little antomies Athwart men's noses as they lie asleep. 2. Dead! one of them shot by the sea in the east. Compound Stress, is as the character indicates, a combination of the radical and terminal stress. It is closely allied to the circumflex, and like it is used to express contempt, irony, sarcasm and similar emotions. Example. "But ere we could arrive the point proposed, A wretched creature, and must bend his body, How he did shake; 't is true, this god did sbake: And that same eye, whose bend doth awe the world, A Did lose its lustre. I did hear him groan; Ay, and that tongue of his, that bade the Romans Mark him, and write his speeches in their books, Alas! it cried, 'Give me some drink, Titinius,' Λ As a sick girl. Ye gods, it doth amaze me, Λ A man of such a feeble temper should So get the start of the majestic world And bear the palm alone! If in addition to the complete mastery and perfect illustration of the foregoing principles; one has imagination, |