flaw PN 41U Book ANALYSIS OP DRAMATIC AND ORATORICAL EXPRESSION; DEVELOPING THE ASSOCIATIVE KELATIONS OF THE ELEMENTS OP THE VOICE AND OF GESTURE, AND THE ADAPTATION OF THE ENGLISH LANGUAGE, IN ITS ORTHOEPICAL, SYNTACTICAL, AND RHETORICAL STRUCTURE, TO VOCAL AND GESTICULATORY DELINEATION. BY J. A. FOWLER. is PHILADELPHIA: LINDSAY & BLAKISTON 1853. ,f4 Entered, according to Act of Congress, in the year 1853, by LINDSAY & BLAKISTON, in the Clerk's Office of the District Court of the United States for the Eastern District of Pennsylvania. STEREOTYPED BY J. FAGAN. PRINTED BY C. SHERMAN. PREFACE. The design of this manual is indicated by the title-page. To develope "the associative rela- tions of the elements of the voice and of gesture," necessarily involves the consideration of each ele- ment as an instrument of mental exposition. The fundamental principles of Hush's Philosophy of the Human Voice, in regard to the structure, modification, and division of vocal sound in speech, and the system of Austin's Chironomia, so far as it relates to the executive principles of gesture, furnish part of the elementary basis. The works of Walker, Steele, Sheridan, &c, and those works which are mainly applications of the principles of Bush and Austin, have been duly considered, and some suggestions partially adopt- ed. In executing the purpose of this treatise, the author was led to ascertain and point out other forms of stress, modes of concrete progres- (iii) IV PREFACE. sion, divisions in intonation, and distinctions in quality, than those presented by Kush, and the appliers of his system. To the elements of ges- ture described by Austin, others have been added. In regard to nomenclature, the terms designat- ing the distinctions in voice and gesture, in the Philosophy of the Human Voice, and the Chiro- nomia, have, with few exceptions, been em- ployed. "Whatever part of the general nomen- clature of elocution was adapted to the author's purpose, has been introduced ; occasionally, how- ever, with slight variation of import. The par- ticular modifications of voice and gesture first elucidated in this treatise, are designated by terms analogous to those employed in designating others. The rule of composition, that it is better to employ a word in present use, in a modified but definite sense, than to coin a new one, has been complied with, as far as practicable; few new terms, therefore, meet the eye of the reader. Elementary details pertain to elementary works : on this subject, the student can derive much information from a discriminating perusal PREFACE. V of Caldwell's Manual of Elocution, Barber's Ab- stract of Austin's Chironomia, Murdoch and Rus- sell's Orthophony, Barber's Grammar of Elocu- tion, &c. A subject which is new, must appear abstruse. The works referred to, prepare the mind of the student for the comprehension of the following pages. The author of Hudibras ob- serves, with reference to the productions of writers on rhetoric, — For all a rhetorician's rules, Teach nothing but to name his tools; — writers on elocution have rendered themselves liable to a similar censure, but they have amply treated of a most useful part of the science. Apart from the main design and the element- ary additions, the present work is distinguished from others by the elucidation of the discrimina- tive properties of the various styles of delivery, by its analytic exposition of the purpose of punc- tuation and emphasis, and by the fulness and character of the notation of the voice ; — that of gesture is distinguished from Austin's mainly by the addition of a few literal signs. It has been truly remarked, that " oratory is unknown in America." Great Britain might VI PR.EFACE. have been comprehended in this observation, and, even on the continent of Europe, oratory is in a very imperfect state. Perhaps as little is known of dramatic expression as of oratory. It is not noio necessary to enforce upon the mind the importance of a systematic cultivation of voice and gesture, by referring to the examples of Demosthenes and Cicero, iEschines and Sheri- dan, and others. No evidence is needed for those capable of judging; to those who are not, the reference would not bring conviction. Ignorance and incapacity of comprehension object to the placing of delivery upon a scientific basis ; and objectors endeavor to dignify their folly, by styl- ing themselves " pupils of Nature." But, though Nature furnishes the appliances, man is the ap- plier ; and those only are the pupils of Nature, who, through an analysis of her process, are en- abled to conform to her systematic operations. To sustain their position, the " pupils of Nature" are ever presenting the authority of a name, and re- peating, among others, with triumph, the senti- ment of Goethe — Reason and honest feeling want no arts Of utterance, ask no toil of elocution; PREFACE. Vll though "reason" and "honest feeling" are daily displaying their incompetency. None of these consolations of folly are afforded by the subse- quent pages; yet no mechanical formality ob- structs the execution of individual conception; for, though the mind is subjected to the guidance of principles, to prevent the vagaries of ignorance and caprice, the judgment is left free. The science of elocution is as far from puerile direc- tions for the delivery of a particular mode of phraseology, or the delineation of a particular passion, as from vague generalities. In pursuance of his subject, the author has not presumed to criticise the eminent of the pulpit, the forum, the senate, and the stage ; nor to draw a distinction which might appear invidious, — Each — for madness rules the hour — "Would prove his own expressive power; yet three examples of a knowledge of a higher language than that of words, are before his mind. One has been compelled to retire from the Senate- hall of his country ; another, enfeebled by sick- ness, exhibits in the pulpit a shadowed brilliancy; Vlll PREFACE. the third remains on the stage, a mental and physical wreck.* b^? The prominence which is assigned to dramatic expression arises from its comprehensive and fun- damental character; but the reader must not confound dramatic expression with theatrical declamation. With these prefatory remarks, this Analysis is submitted to the public. * Since this was written, death has removed the last of the distinguished persons referred to, from both the mimic and the actual world. Philadelphia, Jan. 1, 1853. CONTENTS. Introduction 25 PART FIKST. PRINCIPLES OF EXPRESSION. — VOICE. CHAPTER I. General Principles of Expression 59 CHAPTER II. Relations and Elements of the Voice 64 Sec. I. Divisions of the Voice — Elementary and Expressive 64 II. Combination of Vocal Elements , . 65 III. Pitch 66 IV. Volume 78 V. Quantity 83 VI. Quality 87 CHAPTER III. Relation of the Alphabetic Elements to Expression 99 (ix) X CONTENTS. CHAPTER IV. Effect of the Diversity of Structure in the English Language upon the Character of Vocal Expression 113 CHAPTER V. Connection between the Import of Language and Expression . . 118 CHAPTER VI. Distinction between Dramatic and Oratorical Elocution 120 CHAPTER VII. Emphasis 123 CHAPTER VIII. Punctuation 133 CHAPTER IX. Application of Principles 154 Sec. I. Explanatory Observations 154 II. Additional Forms of the Concrete 162 III. Synopsis and Explanation of Notation 164 IV. Exemplification 167 Fundamental Forms of Communication 167 Characteristic Expression 169 Significative " 182 Symbolical " 182 Imitative " 183 Adaptation of the Oral Properties of the Lan- guage to Expression 185 CONTENTS. Dramatic Expression — Complete u (( — Index Oratorical (C — Complete u u — Index Didactic u — Complete Poetic (( u a u — Index XI 189 195 203 205 208 210 212 PART SECOND. GESTURE. CHAPTER I. The Nature and Purpose of Gesture 221 CHAPTER II. Diversities of Gesture 232 CHAPTER III. Motion 237 CHAPTER IV. Position and Attitude 245 CHAPTER V. Elements of Gesture 247 CHAPTER VI. Application of Elements 263 Sec. I. Explanation of Notation 263 II. Synopsis of Literal and Numeral Signs 265 Xll CONTENTS. III. The Execution of Gesture 269 IV. Examination of Austin's Illustrations 273 V. Exemplification 279 Fundamental Distinctions in Gesture 279 Soliloquial Style ' 280 Colloquial " 286 Oratorical " 288 Relational " 291 Personative Action 293 Dramatic Expression 296 Oratorical " 305 Didactic " 307 Poetic " 308 Additional Examples 310 Concluding Remarks 311 INTRODUCTION. Dkamatic Expression is the natural language of man. It originates in those attributes of his being which limit the fundamental conceptions of his mind to sensible or corporeal ideas; as even the ideas denomi- nated moral and intellectual, can be signified only by terms primarily representing the sensible or corporeal. The metaphors and similes which abound in all lan- guages in their primitive state, arise from the same source ; as the object of these figures of speech, is to endow intellectual ideas, in some degree, with sensible qualities, and to paint, by speech, the operations of the mind. It is the presentation of images to the senses, instead of suggestions to the understanding, that constitutes the essential difference, between that which is represented and that which is narrated. In the embodiment of thought by dramatic or orato- rical delineation, the mind traces the image in the ex- 3 (25) 26 INTRODUCTION. pression, by the same principle of association as that, through which it perceives, or perhaps institutes a re- semblance, between the different objects respectively denoted by the literal and the figurative acceptation of a metaphor. The truthfulness of the delineation depends upon its conformity with those modes of expression which nature first prompted man to employ in the communication of his will ; and which even now occur, though modified and circumscribed by articulation, in those modern na- tions where lively sensibility causes conversation to break through the restraints imposed by articulate language. The natural language breaks forth in the efforts at communication which are made by persons speaking dif- ferent tongues, and it is universally associated with the articulate, when the vividness of imagination, and the comprehensiveness of conception, render the thought too pregnant with meaning, to be communicated by mere words. Amongst the ancients, speaking was strikingly dra- matic : hence, in the records of ancient manners, speak- ing by action is frequently described. In the earlier stages of language, speech appears to have been formed, through efforts to imitate by the voice those sounds, motions, qualities, and objects, which it was necessary to designate. In the present state of language, the resemblance between the word and the thing is almost lost ; yet the imagination, when excited, INTRODUCTION. 27 endeavors to restore, through vocal expression, the full coloring of the vocal image. The naturalness of the signification of the elements of expression is rendered evident, by the mind's imme- diate perception of the different meanings which can be given to a single sentence through the varied application of these elements, which meanings have never been in- stituted by convention, nor determined by rule. The adequateness of significant utterance, unaccom- panied with gesture, to the purpose of expression, is rendered evident by the remarkable instance — the pro- nunciation of the Chinese language ; in which the diffe- rent imports of each word are denoted by changes of the same syllabic sound. As the articulation remains the same, through all the varied volume, quantity, and pitch, it is manifest, that the meaning is associated with the expression, and not with the articulation. The utterance of the imperative mood of the verb, presents a similar example of significant pronunciation in the English language. Inarticulate utterance is rarely employed in the com- mnnication of ideas ; — its general use being for the ex- pression of great mental excitement, physical debility and suffering. No art has ever been instituted for its isolated performance. But it is the power of gesture, to delineate the idea, portray the mind, express the passion, follow the flights of fancy, present to the eye the forms which " imagina- 28 INTRODUCTION. tion bodies forth," that constitutes the highest excellence of expression. It is in this, in which it most resembles its sister arts — sculpture and painting. Gesture is like the statue endued with life, or the figure moving on the canvass. The purpose of gesture was well understood by the ancient actors and orators, as the powerful effects which they were able to produce through its skilful execution, demonstrated. The triumphs of the pantomimists and the wonders of their art, seem to justify the admiration of Seneca and Lucian, and to account for its engrossment of the Roman stage in the reigns of Augustus and Tiberius. Man is an actor by nature ; not merely as regards the expression of his own sentiments, but as regards the ability to enter into the thoughts of another and to por- tray them ; and in reference to his capacity to represent the characteristics and deportment of others. The ten- dency of man to imitation in the last respect, is often manifested in the sports of children. In the personation of character, the philosophic actor does not confine himself to portraitures of mere idiosyn- cracies or of national manners. He makes his concep- tion of character as comprehensive as possible, by view- ing every thought, emotion, and action, as a manifesta- tion of some quality of the mind. He renders the illustration of every sentence conformable to the general conception, and thus gives characteristicalness to every INTRODUCTION. 29 expression. This conformity of every part to the whole, gives unity to the entire delineation, individuality to the character, enlarges the sphere of illustration, and pre- vents partial development in characterization. The performance of the histrionic art in different ages and nations, has exhibited many divergent and apparently antagonistic styles ; but through all the various forms that it has presented, there runs an in- trinsic resemblance, which shows them to be radiations from one centre. The due consideration of the various styles, and the gradations of those styles, furnishes the student with a knowledge of the extent and resources of the art. He finds not only the extremes of every possible diversity of style, but almost every intervening degree between the most remote extremes : from the most boisterous cries and wild and vehement action, to monotonous and inanimate affectation ; from pompous declamation and measured gestures, to colloquial familiarity of speech and action ; from solemity of utterance and grandeur of action, to ludicrous tones and antic gesticulation ; from rythmical but unmeaning gestures, to the minute imita- tion of humorous mimetic action. The art at the present day, has been almost stripped of its vital energies by the introduction of chilling and insignificant mannerisms. To please the ear and the eye, instead of informing the judgment, awakening emo- tion, and stimulating the fancy, seems to be the present 3* 30 INTRODUCTION. "purpose of playing." True dramatic elocution makes "the sound an echo to the sense." The actor should be something more than the " sounding brass and tinkling cymbal." Dramatic gesture is the visible manifestation of mind, the image of the unseen ; and it should be em- ployed for higher purposes, than merely to give grace and force to delivery. Although the principal part of the action of the stage, when it is not ludicrous, is now, generally, more orato- rical than dramatic, there is nothing oratorical in attitu- dinization : the attitudes being too varied and methodical to be adapted to oratory. Attitudinization seems to be founded upon certain arbi- trary principles, which have no foundation in the nature of expression, but originate in the design to endow the repose of action with ideal beauty, by investing it with the graces of sculpture. But statesque attitudes, how- ever elegant or striking, have not the expressiveness which belongs to the natural positions of the body, and are, therefore, less dramatic. The gesture of the stage requires every natural beauty, but does not demand ideal grace. Prominent among the causes which have narrowed the sphere of dramatic representation, is the superficial criticism of the day. The critics, by limiting their praises and animadversions to the manner of the per- former, seem to consider acting as nothing more than a mode of delivery. Nature, with them, means custom ; INTRODUCTION. 31 " to hold the mirror up to nature," denotes conformity to the conventionalisms of society ; individuality of cha- racter signifies a peculiar utterance and demeanor : their remarks are replete with epithets approving or condemn- ing the performance, but are neither analytical nor de- scriptive, and they have little reference to the truth and adequateness of the delineation. A truly profound criticism would develop the partial or complete character of the expression, evince a just discrimination between the true and the fanciful, the significant and the meaningless, in voice and gesture, and a clear perception of the form and coloring of the actor's imagery. The treatises of the ancient rhetoricians on " action," and the descriptions of the representations of the actors, and the delivery of the orators, of ancient Greece and Rome, impart to us in general, and, therefore, indefinite terms, but few and inadequate ideas of what constituted the excellence of the acting and public speaking of the ancients, particularly as regards the vocal execution. The subject of gesture is treated by Quintilian and others with more explicitness and in greater detail. The ancients displayed a clear perception of the ex- pressiveness of the application of the various qualities and of gradations in the volume, pitch, and quantity of the voice, and ascertained its concrete movement from gra- vity to acuteness, and from acuteness to gravity. They adapted, in the structure of their languages, the fixed 32 INTRODUCTION. quantity of the syllables to the sentiment, and demanded a strict observance of quantity by the speaker. They designated various qualities of the voice, and gave general directions for their application. But they made only a meagre and defective analysis of the pitch of the concrete movement, and attempted no elucidation of the relations of volume and quantity to that movement. Their rules of elocution directed the general manner of delivery, and designated those characteristics of vocal sound which are always evident to the ear; but they w r ere not based upon the elementary knowledge neces- sary to render them definite and practical. Yet, in de- spite of the deficiency in scientific principles, the elabo- rate vocal training, and assiduous practice in pitch, force, melody, and quality, in ancient rhetorical education, were productive of great practical skill. Though the ancients could not definitely describe the elements of vocal sound in speech, they knew the value of elemen- tary practice. They had not learned the principle — that all that is necessary to a proper and effective deli- very is a full comprehension and feeling of what is spoken, and to be in earnest ; — which is proclaimed by some modern elocutionists. The believers in this prin- ciple commence and end their rhetorical studies with recitations, vainly imagining that success in an art can be attained without a knowledge of the science upon which it is founded. There is much uncertainty in regard to the nature and INTRODUCTION. 83 purpose of the acute, the grave, and the circumflex ac- cent of the ancients. It is generally supposed that they refer to concrete pitch ; but Sheridan observes, that, amongst the ancients, "we know that accents were marked by certain inflexions of the voice like musical notes ; and the grammarians, to this day, with great for- mality inform their pupils that the acute accent is the raising the voice on certain syllables, the grave, a de- pression of it, and the circumflex, a raising and depres- sion both in one and the same syllable. This jargon they constantly preserve, though they have no sort of ideas annexed to these words;" and he adds, the gram- marians found it "impossible to come at the least know- ledge of the accents as used among the ancients." Though Sheridan denominates the definitions of the accents given by the grammarians a "jargon," and says that "they have no sort of ideas annexed to these words," yet the reader may be able to annex ideas to "these words," which are, perhaps, far more definite, than any which he can associate with the phrase, " in- flexions of the voice," as used by this writer ; and to deem the accents changes from gravity to acuteness, from acuteness to gravity, &c, certainly involves the subject in less obscurity, than to compare them to mu- sical notes. Walker, by applying the generally received explana- tions of these accents to the English language, in the rising and the falling inflection and the falling circumflex, 34 INTRODUCTION. and by observing the upward and downward concrete movement, furthered the knowledge of elocution. But there is a vagueness and erroneousness in Walker's illus- trations of these modes of intonation, which arise from his treating of them as if they belonged to words in- stead of syllables, and as if they were not indispensable to speech : as in the assertions , — " The different slides of the voice are named from the direction they take at the conclusion of a ivord;" and — "the plaintive tone, so essential to the delivery of elegiac composition, greatly diminishes the slides, and reduces them almost to mono- tones ; nay, a perfect monotone, without any inflec- tion at all, is sometimes very judiciously introduced into verse." When the impossibility of executing one unin- terrupted concrete on two or more successive syllables, and of uttering speech without either the slide or circum- flex, is considered, an idea may be formed of the little which was known of the nature of vocal sound in speech in the time of Walker ; and those who reject Dr. Rush's system of the intonation of speech, and believe, with Rousseau, that " the inflections of the speaking voice are not bounded by musical intervals," and, that "they are uncontrolled and impossible to be determined," can- not, if they make the slightest observation of the ex- pressive effects of different degrees of pitch, admit that " the rising or falling of the slide, in a greater or less degree, does not essentially affect the sense and harmony of a sentence." INTRODUCTION. 35 Though these and other errors and contradictions, render the works of Walker defective, his writings, nevertheless, contain much information on the nature of vocal expression. His Introduction to the Theory of Emphasis, his Theory of Emphatic Inflection, and his Practical System of Emphasis, which are found in his Elements of Elocution, constitute, whatever may be their defects, the best treatise on emphasis in the lan- guage. He never fell into the error of many of his pre- decessors and successors, of confounding emphasis with impassioned or forcible expression. His principles and rules of rhetorical punctuation, in the same work, are of great practical importance, and even those parts of the work which relate to vocal acoustics, develop many philosophic truths in relation to speech. Sheridan, in his Lectures on Elocution, shows the su- periority of the spoken to the written language for the purpose of communication, and the impossibility of written language communicating all that passes in the mind. His view of language in the abstract, is correct and philosophical. He points out many of those defects in articulation and pronunciation which deform delivery, furnishes many suggestions for the proper employment of emphasis and pauses, shows the significance and ob- jects of the "tones" of the voice, and gives a compa- ratively excellent exposition of the nature of English accent ; though his opinion concerning the " seat of the accent," is as erroneous as Walker's conclusion in refe- 86 INTRODUCTION. rence to a determinate relative pitch of the accented syllable. These eminent elocutionists have been thus particularly noticed, because they may be deemed repre- sentatives of two distinct classes of writers ; neither of which adopted any systematic notation. Sheridan's writings partake of the character of an essay. Walker's must be ranked with the first efforts towards establishing a system of elocution based upon an analysis of the voice : but the symbols employed by Walker and his fol- lowers, are limited to the signs of the inflections and the circumflexes. Steele was the first that applied to speech a notation analogous to that of music. His rhythmical notation is a valuable aid in correcting habits of drawling and jerk- ing out syllables. It gives the practitioner a command of quantity, causes an observance of the accented syl- lables, promotes that regularity in variety which is pro- ductive of melodiousness, and makes the time of the pauses proportionate to that of the words. But the making of the time of the accentual sections equal, often causes an undue limitation or extension of the quantities of syllables, that prevents just expression ; which may sometimes demand a quantity on an accented syllable, which is greater than the aggregate quantity of a mea- sure consisting of the greatest number of syllables. The introduction of pauses to occupy part of the time of the imperfect measures, may sometimes obviate this defect : but this makes punctuation subservient to the melody INTRODUCTION. 37 instead of the sense, as the pauses thus introduced, often cause divisions in the language which the sense does not require. These objections apply to the equalizing of the time of the measures ; but the employment of symbols to designate various quantities, both positive and relative, would furnish an effective guide to expression.* It would be idle to say, that the terms, tone and modula- tion, with the various adjectives and prepositional phrases connected with them, in criticisms on acting and elocu- tionary treatises, convey no meaning to the reader ; but, they can refer, in a general manner only, to the instinc- tive vocal efforts in the manifestation of sentiment, and not to those specific modes of speech which constitute the distinguishing characteristics of individual expres- sion. Almost all writers, in using these terms and their adjuncts, might say with Aaron Hill in his instructions to a young actress, " I wish I knew how to explain what I mean." The foregoing remarks in relation to the rhetorical knowledge of the ancients, to the Greek accents, to the works of Walker, Sheridan, and Steele, and to the am- * " The voice of a singer," says Colley Cibber, " is not more strictly- tied to time and tune, than that of an actor in theatrical elocution : the least syllable too long, or too slightly dwelt upon in a period, depreciates it to nothing, which very syllable, if rightly touched, shall, like the heightening stroke of light from a master's pencil, give life and spirit to the whole." 4 88 INTRODUCTION. biguity of elocutionary nomenclature, may impart an idea of the state of the science prior to the publication of Dr. Rush's Philosophy of the Human Voice. And it may be appropriate to add, in connection with the subject, that while the elocutionists disregarded elemen- tary principles, the nature, divisions, and organic causes of the alphabetic elements, were explained and classified by the grammarians. As the various forms and phases presented in nature, arise from the diversified commixture of few distinctive elements, so the multiplicity of sounds emitted by the vocal organs, is derived from the combination of various species of the four* generic divisions. Dr. Rush, by treating each element abstractly, has given a definite idea of its attributes. He has given accuracy and pre- cision of import to terms denoting various combinations and gradations of these elements, has shown the relations * If the reader should deem this number too limited, he can test the truth, by endeavoring to execute different sounds having the same quantity, quality, volume, concrete and radical pitch. If he should ever have been startled by such assertions as that of the editor of the Medical Times, that there are in the human voice 17,592,186,- 044,415 different sounds, "independent of different degrees of in- tensity /" he can ascertain the real extent of vocal diversity, " inde- pendent of different degrees of intensity," by observing the variation of vocal sound produced in the same quantity, amount of volume, and degree of pitch, by changes of progression in volume, and of direction in concrete movement, and by all diversities of quality that do not arise from difference, in intensity, of the same characteristics. INTRODUCTION. 39 of the alphabetic elements to quantity, and to the con- crete movement, and the application of various degrees of volume to different parts of that movement, measured the extent of pitch by the diatonic scale, or, rather, by a scale consisting of whole tones, and by the chromatic scale, and shown the effects of quantity in modifications of the concrete. Against the fundamental principles of Dr. Rush's analysis, no reasonable objection can be made ; though the following extract from the marginal note appended to the section on the Yocal Signs of the Passions, would, itself, be deemed a confutation of many principles of the work, if it were not duly considered that no constituent can be executed alone, and, that the union of the vocal elements is essentially different in the structure of speech, from their union in the structure of song : — " The rising and falling concretes of the third, fifth, and octave, when not set to words which express the sentiments of these intervals, are constantly heard in song without producing the audible characteristics of interrogation, positiveness, or surprise. The various forms of stress, too, which have their proper expression in syllabic utterance, seem to be almost without meaning in the inarticulate move- ments of song." Though a judicious investigator is compelled to dissent from some parts that relate to special applications of the forms of stress, and modes of pitch, quality and quan- tity, he would acknowledge that it furnishes the best basis 40 INTRODUCTION. that has yet been presented, for a systematic synthesis ; and, though freely admitting the general accuracy of the work, and of the audible perceptions of its author, he would yet think, that if the median, the vanishing, the thorough stress, and the loud concrete, require long quantity for their proper execution, "that it is" not " difficult to give stress without running into quick- ness of time," or, in other words, that augmentation of volume does not tend to quicken the movement ; — and — if the concrete rise in vehement interrogation, some- times passes far above the limit of the natural scale, that "the octave" cannot be "the widest interval of the speaking scale." And he may find the rule* for the classification of immutable syllables as unintelligible, and may deem the remark, — - that all " emphatic words carry with them something of the admirable," — as fan- ciful, as anything that can be found in works of preceding writers. Dr. Rush, by limiting the instinctive means of expres- sion to some states of the mind, seems, in common with others, to deem that the full manifestation of the vocally expressive powers of man has been made ; but their compass is unknown, as the artificial or conventional modes of communication have restricted the scope of * " To the First class belong many of those syllables terminated by an abrupt element ; and containing- a tonic, or an additional subtonic, or the further addition of an atonic, such as at, ap, ek, hap-\ess, pit- fall, ac-cep-tance." INTRODUCTION. 41 expression, and prevented the development of these powers. If it were true, that there are " no natural ex- pressions, of any definite character, for hope, content- ment, and gratitude," these sentiments would be incom- municable with those persons who have no conventional signs to denote them. This, the history of man in his most savage state, and the history of the progress of language, refute. In reference to the admissible universality of the "verbal" modes of expression, Dr. Rush observes, that " one can tell another, that he is astonished, in the most simple style of intonation, and thus convey the know- ledge of the existence of that sentiment, as well as he can by the most striking use of the downward octave, which is its natural sign." It is a sufficient evidence of the inaccuracy of this assertion, to observe, that, if a person should say "I am astonished" with the characteristic utterance of a simple declaration, he would find the truth of what he asserted, discredited ; and his .character for veracity could be admitted, only at the expense of his understanding, by his hearer inferring that he did not understand the meaning of the word — astonished.* * It is related of Demosthenes, that, on a certain occasion, a client came to him, and gave an account of a number of blows which he had received from an antagonist, but in so unconcerned and indiffe- rent a manner, that Demosthenes exclaimed, " Surely, my good friend, thou canst not have received the injuries of which thou speakest." " How ?" cried aloud the client, with grief and astonish- 4* 42 INTRODUCTION. These few strictures have not been made in a captious spirit, nor with a desire to detract from the deserved re- putation of the Philosophy of the Human Voice, nor, above all, to dispute the acuteness of its author's ear : they embrace a few of those points which seem erro- neous, or contradictory, or, at least, ambiguous ; and were prompted by an earnest desire to promote further scrutiny into the operations of the voice. It is a subject of regret, that succeeding writers who have adopted the system of Rush, have fallen into the error of supposing that the work of investigation has been completed, and that nature has no new truths to offer to other laborers in the field of inquiry. But the most exalted and comprehensive mind can but take a partial survey of the vast compass of art, and it remained for other inquirers to discover modes of pitch and stress which had eluded observation ; to elucidate the reciprocal relations of volume and quantity, and those of volume and the ■ intervals of pitch ; to present a more compre- hensive analysis of the five* principal qualities, and extend the examination to other qualities ; to develop the instru- mentality of the intervals of the fourth, the sixth, and the seventh, in expression ; show the structure of those modes of speech which are employed in what is called ment, "Demosthenes! — have I suffered nothing V "Now," re- plied the orator, " I hear the voice of an injured man." * This number includes the guttural, although this quality is not classed by Dr. Rush with the others. INTRODUCTION. 43 "imitative modulation," and also the structure of vocal anomalies ; give an exposition of that vocalism which is illustrative of mental and physical condition, and reveal the expressive agency of thought, as well as of emotion. The elocutionary treatises which are conformable to the principles of the Philosophy of the Human Voice, are mainly expositions of that system, and refer chiefly to practical applications of its principles. They possess very different degrees of merit. Some of them may be deemed more perspicuous in style than the work of Rush, and, in a few details, may have improved the system ; but they rarely dissent from the principles of their ori- ginal. They generally admit the organic causes of pitch and quality assigned by physiologists, which Dr. Rush has rejected ; and they have ascribed somewhat different structures to some of the modes of stress, characterized some of Rush's diphthongal elements as monothongs, at- tributed different constituents to other diphthongs, and extended the judicious design of representing the expres- sive elements by visible types, beyond the symbols of the simple slides ; though, in some instances, the design is more judicious than the execution, as some of the figures are not sufficiently conformable to the written descrip- tions, to render them symbolical, and sometimes mislead the mind, instead of assisting the comprehension. In most of the works, they are presented in a horizontal position, instead of the positions of the grave and the acute accent : the symbols of the explosive radical, and 44 INTRODUCTION. the explosive vanishing stress, delineate respectively the equable diminution and equable increase of volume ; one type of the thorough stress represents an amount of volume at the middle of the stress which is greater than the amount at any other part ; another, represents the least amount at the middle, and the diagrams of the tremor cannot convey an idea of it. It is not within the province of this prolegomena, nor the purpose of the following treatise, to enumerate the various discrepancies which occur in the exegeses alluded to ; — such as the assigning of a similar combination of expressive elements to dissimilar emotions, the applying of the elements contrary to the qualities ascribed to them in the works themselves, the ascribing of discordant attributes to some of the modes of stress, &c. : — a few examples may serve the purpose of evidence. — In one treatise, the same vocal symbols are assigned to irreso- lution and apathy, to doubt and tranquillity ; in another, the vanishing is described as an explosive stress, and applied in the expression of gloom and melancholy ; in a third, the thorough stress is explained as a " union of the radical, median and vanishing stresses on the same syl- lable." Some of the deviations from the principles of Rush, seem to be the result of miscomprehension : for example, to characterize ou in ouv as a compound of o in done and a short quantity of oo in ooze, to denominate u in tube a triphthong, and to assert that the vanish of the radical stress u suddenly falls into silence." INTRODUCTION. 45 The preceding general and summary allusion to the expositors of Rush, answers the purpose of this intro- duction. These writers, in their partial analyses, pre- sent only prominent characteristics of general modes of delivery thus leaving undetermined the special modifi- cations upon which the import of expression mainly de- pends; and colloquial elocution, with them, is utterly devoid of expressive meaning. Having by this retrospect of the progress of the science of elocution, presented some of the most pro- minent stages of its advancement, it is now necessary to turn from the consideration of that part of expression which is audible, to that which is visible. The demands of the eye are as various and extensive in acting and oratory, as in sculpture and painting. A want of a full consideration of their importance, has caused the failure of many actors, speakers, and dramatists. " Shakspeare," says Davies, "was the first dramatist who perfectly understood the force of theatrical effect. He knew that the eye must be fed as well as the ear and the understanding : many of his plays might be represented in pantomime."* * While quoting this passage as an evidence of the necessity of attending to the requirements of the eye, it may be proper to remark, that if Davies had stated that the understanding must be fed through the eye, it would have been more consonant with the character of dramatic representation. 46 INTRODUCTION. The principles of gesture are involved in all the ob- scurity that necessarily attends limited and defective perceptions of a subject. Erroneous principles have led to erroneous practices, by those who have studied works on the art. By sedulously endeavoring to strip gesture of all meaning, and to make it a merely graceful or for- cible accompaniment of vocal delivery, writers on the subject have fostered the opinion, that it is a mere ornamental appendage, whose total omission is allow- able. And the popular conclusion which has been drawn from the premises furnished by the writers themselves, is doubtlessly just : for if gesture is useless, the least that can be employed, is the best. Through these means, the promptings of nature have been overruled by the forms of society, and visible ex- pression has lost its essential attributes : the artificial having superseded the natural. But as man wanders from the truths of nature into the devious ways of error, the multiform and incomprehensible objects which are ever present to the mind, produce the innumerable vagaries of fancy : the complexity of error is substituted for the simplicity of truth, and the very faults which the mind desires to avoid, are the inevitable results of the errors which it adopts. Thus rhetoricians, by making rules that render all gesture redundant, have promoted the very fault which they condemn. The natural impulses to gesture, misdirected by rules and by the usages of society, occasion the greatest pro- INTRODUCTION. 47 fusion of unmeaning action ; which seems to emanate from excitement merely, as it is neither guided by the judgment, nor prompted by the imagination. To avoid this profusion, many public speakers and performers upon the stage, have fallen into the opposite extreme, and have become speaking statues.* * The following comment, from an English journal, on the neglect of gesture by dramatic performers, exhibits a just view of this con- stituent of expression, and furnishes a brief but lucid explanation of the most prominent cause of the deterioration of dramatic repre- sentation. These remarks present a striking contrast to the superficial stric- tures of almost the whole of the present generation of critics. — "The serious pantomime, Hans of Iceland, did not realize the ex- pectations which had been excited. The genius of this species of the drama has expired, that genius which, at one time, sparkled so resplendently on Covent Garden boards. We can remember when Three-Fingered Jack, with Charles Kemble for the sable Hero, — Perouse, with Harry Johnstone for the Navigator, transfixed the house in mute attention, eloquent in their dumbness. Those were the days of the drama's glory, when the author's thoughts were breathed in the actor's action. We have no successors to Charles Kemble, to Belzoni Bologna, Grimaldi Farley, Harry Johnstone, Miss De Camp, &c, &c. Fanny Kelly is the last that is left to us of that inimitable troupe ! It is true, we have T. P. Cooke, and O. Smith, — but they have neglected themselves in affecting speaking parts, and have studied to forget the eloquence of action. The sub- stitution of gesture for speech, calls for powers of no ordinary kind. Nature must have done much ere art can essay at all. "Kean, the best actor of our time, was a consummate pantomi- mist ; and those who remember his Timon and Sir Giles Overreach, 48 INTRODUCTION. The opinion, that attention to gesture, or, rather, the execution of complete gesticulatory expression, produces multiplicity of bodily movements, has caused prejudices against the systematic teaching of gesture ; which is condemned by those who know nothing of the art. Sir Richard Steele says, that "an actor should not study gesture;" Better ton, that it ought to be his "chief aim and application." The one is the observa- tion of a critic, the other, of a great actor. Most writers deem that the action of the ancients greatly exceeded that of the moderns in exuberance and must feel how he brought this power to his aid in those matchless assumptions. But the performers of the present day, are educated in the rhetorical school, and, with the march of education, has pro- gressed the theatrical impression that words are things, — that it is better to say, than to represent; — thus that sublime art, sublime in its perfections, and highly connected with statuary and painting, has fallen into disuse, and the great charm of the drama has fallen by its side. Let the young and rising actor know, that John Kemble in his pantomime in the oration of Coriolanus, was great as in the de- livery of his author's text, — that one of the greatest charms of a Siddons, in her Lady Macbeth, and Hermione in the Winter's Tale, was the richness and fidelity of her pantomimic action, — that Mrs. Powell's Evelina, in the Castle Spectre, was the redeeming quality of that heavy drama, — and, that Fanny Kelly's pantomime in the Sergeant's Wife, is a conception of unequalled beauty, and lends a force to the author which his text could not supply. These are ex- cellent exemplars of what genius can effect without the aid of speech, and should be studied, deeply studied, by the actor who would rise to fame." INTRODUCTION. 49 vehemence. This, the restrictive influence of many of -the precepts of the anciei\t rhetoricians, demonstrates to be impossible. The contest between Cicero and Roscius, — whether a sentiment is susceptible of a greater variety of expres- sion by words or by gesture, furnishes an index to the character of ancient action ; and shows that it was not executed as if the speakers were wild with excitement, but that its significancy determined its employment. It is difficult to conceive how "Roscius" in action " would have seemed a madman to us," * though it may readily be believed, that the multitude of gyrations ex- ecuted by many popular declaimers, would have aston- ished a Roman. Beside those speakers who are immovable, and those who are vehement, there is a class who are considered graceful in their gestures, which are like those of " Par- son Dapper," f pretty and insignificant. "How would you have been affected had you seen Demosthenes speak," said iEschines, "for he who only hears him, loses much the better part of the oration." This is an evidence of the necessity of gesture, to ex- press the various shades of thought and peculiarities of conception which words cannot impart : but this can be affirmed of such action only as Dr. Atterbury's,f "which contained explanation as well as grace." No essential part of the discourses of all the "Parson Dappers" in * Blair. t Tatler, No. 66, 50 INTRODUCTION. the world, would be lost, if they should be stripped of all the pretty action in their delivery. It may have occurred to the reader, in the course of these introductory observations, that the purpose of ex- pression is deemed higher and more extensive by the writer, than by others who have written on the same subject, or, rather, on collateral subjects. The limited development of the philosophy of expression which cha- racterizes works on elocution, rhetoric, acting, &c, has contributed to restrain those enlarged views of dramatic and oratorical delineation which are the result of a com- prehensive conception of abstract expression, and to cause the mind to view the contingencies and modifica- tions of convention as essentials. Some of those writers who uphold partial expression as the acme of the pursuits of the orator and the actor, limit the expressiveness of gesture to emotion. The knowledge which they thus display, resembles, in its comprehensiveness, the definition which is given of the voice in a rhetorical terminology; — viz. — The "voice is a kind of sound which influences the passions either by raising or allaying them" ! The writings of Quintilian, Betterton, Hill, Engel, Austin, with the almost innumerable references to the subject of gesture in elocutionary and rhetorical trea- tises, dramatic annals, biographies, and criticisms, afford a fund of observations, precepts and examples, which may be useful to the student in guarding him against INTRODUCTION. 51 irregular action ; but, as he leaves theory for practice, he becomes conscious of a want of fundamental prin- ciples, to govern the selection of his gestures in the ever- changing current of thought and expression. The slight knowledge of these principles imparted even by those writers who have directly treated of them, renders the distinguishing of false from true gesture, by the aid of works on the subject, generally impossible. The third chapter of the eleventh book of Quintilian's Institutes, contains many precepts for regulating the execution of gesture. But some of them relate merely to the manner of action prescribed by the ancients : no reasons exist which can induce the application of these to modern action. Though Quintilian had a just concep- tion of the imports of various movements of the hands, head, &c, he seems to have considered the grace of ac- tion more important than the truth and force of it. Betterton, in his papers on the Duty of the Player, aimed to eradicate from the stage the habits of action which are found in society, and which have arisen through the perversion of natural gesture, and have be- come general through imitation. He strove to make the action of the stage consistent with character and con- ception, and he has shown the meanings of customary motions of different parts of the body. " Hill, in his Essay on the Art of Acting, has made a bold attempt at such a description of the passions as may enable an actor to adopt them mechanically, by show- 52 INTKODUCTION. ing that all passions require either a braced or relaxed state of the sinews, and a peculiar cast of the eye. This system he has supported with much ingenuity ; but it were to be wished, he had lived to give his original idea the finishing he intended, and to have seen it combated by opposite opinions, that he might have removed several objections that lie against it, and render the truth of it doubtful."* Engel treats of the fundamental principles of gesture, more than any other writer, and he has considered the efficient and the final causes of habitual action. He was an attentive observer, but not a profound investigator, and he is not always fortunate in the execution of his purposes, as he is apt to generalize until he becomes ob- scure, and to particularize until he becomes trivial. Acute discrimination, however, occasionally marks his descriptions; and his exposition of "analogous" and of " expressive" gestures shows, in the main, a just appre- ciation of expressive action as distinguished from the literal and the meaningless. His views on the ancient pantomime are such as might be expected on a subject about which little or nothing can be known : his opinions have been deduced by squaring the pantomime to mo- dern ideas of gesture. The communicative power attained by Rich in his pantomimical performances, demonstrates that this department of visible expression is not re- stricted to the limited range assigned to it by Engel. Of Rich, Garrick has written — * Walker. INTRODUCTION. 53 " He gave the pow'r of speech to every limb ; Tho' masked and mute, conveyed his quick intent, And told in frolic gestures all he meant." Austin's Chironomia is systematic and practical. The descriptions, illustrations, and classification, considered as means to promote effective and impressive execution, are admirably adapted to the end. But limited views of the purpose of gesture, have caused the author to deem " discrimination," force, variety, and grace, pri- mary and essential properties. To preserve unity, he has disregarded significancy ; and, through restricting the movements of the arms to points of his circles mainly, the practical operations of his system are attended with sameness-, or, at best, with but mechanical variety. Many instances of inconsistency, and of deviations from his own principles, occur : thus, by not observing the propriety of action, he frequently gives in his illustra- tions, gestures for which no " satisfactory reason " can be assigned ; these are, therefore, but " unmeaning flou- rishes." He has also departed from the truth of ex- pression, by making ideas which are primary in the mind, but secondary in the illustration, and by rendering ad- juncts as prominent as principals. To those who are conversant with the system of Austin, and think all gestures proper that do not offend the eye by their uncouthness, sameness, or awkwardness, these remarks may seem hypercritical ; but there is a propriety and impropriety in action, apart from grace, force, or 54 INTRODUCTION. any other modification. There are synonymous gestures, as well as synonymous words ; but, though the sense of language is no more restricted to one set of gestures than to one set of words, yet, like words, the action em- ployed, must be such as the mind readily associates with the sense, and it must not be executed at random, nor in conformity to rules analogous to those which govern the movements of a dance. Let not the reader deem the various combinations and applications of the movements and positions of different parts of the body, inadequate to the required expression of the myriad shades of thought and passion, when a " few simple ideas are sufficient to employ the quickest thought and largest capacity, and to furnish the mate- rials of all that various knowledge, and more various fancies and opinions of all mankind." * Arbitrary rules, arising from the " illusions of opinion," produce the innumerable customs which appear for brief periods upon the stage of life. Though these furnish subjects for dramatic illustration, they cannot change the fundamental principles of expression by voice and gesture. Custom is but a fashion, and, like a fashion, passes away. The principles of an art which has its foundation in the nature, of man, must endure while man endures. The advancement of knowledge is but the ex- tension of comprehension over a larger area of the scope of nature, which contains the prototypes of all the truth- * Locke. INTRODUCTION. 55 ful ideas that are formed in the human mind. One of Nature's revelations never overthrows another. The art which she first taught to man, goes hand in hand with all her succeeding teachings ; additional knowledge en- larges the field, but it can, no more than custom, alter the essential character of dramatic or oratorical deli- neation. The accord of voice and gesture with th« thoughts which gleam upon the mind, require the concentrated exertions of all the faculties of mind and body. " Within, the memory, the judgment, the fancy, and the passions, are all busy ; without, every muscle, every nerve, is ex- erted, not a feature, not a limb, but speaks." But it is mind, which gives value to all the efforts of the orator and the actor : tones that would ravish the ear like choicest music, action, whose grandeur would have added lustre to "the greatest actor of royalty," are "without form and void," unless they present images to the ima- gination of the observer. The proximity or remoteness of association, must be determined by the speaker's taste and judgment, regulated by his knowledge of the prin- ciples of his art. And, so long as he makes the beauty of expression subordinate to the truth of it, he may clothe his imagery with all the radiance that illumes the land of fancy ; for, by accuracy of delineation only, can he give distinctness to the dim shadows of the world of imagination, and wield the sceptre in the realms of passion. 56 INTRODUCTION. In the almost unlimited variety of characters pre- sented on the stage, every peculiarity of voice and ges- ture may be required ; hence, those qualities of both which are, intrinsically, defects, become appropriate, and pleasing to the ear and eye, when adapted to character, and striking excellences in the performance of low comedy. Uncouthness of action is, in representation, the grace of eccentricity of character, and incongruity of expression is often appropriate to rustic ignorance and absurd pretension. PART I. PRINCIPLES OF EXPRESSION. YOICE. (57) ANALYSIS OF DRAMATIC AND ORATORICAL EXPRESSION CHAPTER I. GENERAL PRINCIPLES OF EXPRESSION. Man, in imparting his thoughts and intentions, neces- sarily employs those means of imparture which he deems most intelligible ; and, as after the object itself, its sem- blance conveys the clearest idea, he endeavors to pre- sent a similitude of the subject denoted : the degree of resemblance which the instruments of expression are capable of assuming, determines the extent of the com- munication. But, in facilitating the means of inter- course, representations of distinctive traits of objects, are substituted for resemblances to the objects them- selves ; thus symbols displace images, and, eventually, through variation in application, lose their analogical character, and become, in their general use, signs with merely conventional significancy. (59) 60 PRINCIPLES OF EXPRESSION. The indication of character, conception, and the asso- ciation of ideas, by the varied management of voice and gesture, is necessarily based upon the principle, that such modifications represent corresponding modifications of sentiment. The expressive power of the elements of vocal and of gesticulatory delineation, is derived from association, analogy, and resemblance. As the customs, as well as the nature of man, may be subjects of illus- tration, the import of voice and gesture may occasionally result from conventional association. Those forms of expression which are naturally significant, embrace those modes of voice and action which are instinctively asso- ciated with emotion and the manifestation of intention. Their analogy, (if they have any,) to what they denote, appears to be slight ; it may, as Engel ingeniously in- fers, relate to the progression of ideas. But the cha- racteristics of these expressions mostly arise from the effects of passion or volition on the organs of the voice and the body ; as they are not designed to portray what passes in the mind. Many ideas are naturally associated with certain mental sensations, which accompany their perception, become denotements of their presence, and produce modifications of voice and gesture, which, though mere signs, appertain to natural expression. All ex- pression, whether visible or audible, founded upon resem- blance, cannot be merely conventional : even articulate language and purely social gestures, as contrasted with the language of nature, may be considered as deviations PRINCIPLES OF EXPRESSION. 61 in development, rather than radical distinctions : for the proper employment of even the conventional modes of intercourse, when associated with natural expression, de- velops a congruity with it, and shows the tendency in articulate sound, to adumbrate the thing signified. Those who maintain that the resemblance presented by the delineative employment of voice and gesture, must necessarily be faint, because there is no intrinsic similitude between vocal sounds, bodily positions and movements, and the forms, relations, general and dis- tinctive traits of most objects imaged by the mind, should define the similarity between colors and canvass, and the form and features represented by the painter. The acute penetration of wit perceives, and the broad apprehensiveness of imagination imparts a resemblance, which is discerned, only when the mind rises to the highest regions of conception, in which the great ana- logy in nature's developments, is visible to the mental eye : in this sense, perhaps, Aristotle's definition of poetry — imitation — should be construed. The analogy between the significancy of language and expression, resembles that among objects that the mind apprehends through different senses. The use of the same terms to denote attributes in subjects that have no absolute similitude, is a result of this principle of association. The ambiguity and various imports of words, and the peculiarities of application, render the meaning of language equivocal and obscure ; and, of the 6 62 PRINCIPLES OP EXPRESSION. many constructions of which it is susceptible, the reader selects that which best satisfies his own judgment : but when expression is substituted for merely verbal commu- nication, the light shines in the midst of darkness ; as the meaning intended is clearly displayed, and the sense is no longer indeterminate. For this reason, the best test of the appropriateness, of the employment of any form of expression, is the interrogatory — What does it mean ? In ascertaining its meaning, the observer should ever keep in view, that the variations of pitch, quantity, volume, and quality, and the movements and positions of the head, shoulders, arms, hands, feet, and lower limbs, the consentaneous action of the trunk, and the expression of the countenance, are concordant with the connection of idea with idea in the mind, and that the expression follows the process of abstraction, and repre- sents objects, not in the entireness of their being, but in their particular relations. Various phases of expression, occasioned by diversity of subject and form of communication, may be classified by the division of expression into Dramatic, Oratorical, Didactic and Poetic. Dramatic acting is the development of the mental, the moral, and the social traits of character, through the manifestation of thought, motive, and passion, colored by the temperament with which they are associated. Its fundamental principle is imitation, extending through every degree, from symbolical suggestiveness to positive PRINCIPLES OF EXPRESSION. 63 semblance. Its theme is the history of man ; embracing his knowledge and inexperience, his virtues and vices, his merits and foibles, his triumphs and defeats, his hopes and fears, and the almost numberless sentiments which swayed his mind in ages past, and those which sway it now. Oratorical delivery is more expanded but less diversi- fied than dramatic. It is natural language with conven- tional modification. It derives many of its qualities from the rhetorical exornations, and the sentiments, narra- tions, explications, and descriptions, vivified by passion, with which it is associated. Didactic delivery is purely intellectual. Its execution is precise and deliberative. Its purpose is illustration and exemplification. Poetic delivery associates the imitative character of dramatic delivery with oratorical execution. Being re- citational in its form, the sentiment is merely the ground- work of the expression. The latter is characterized by ornament, harmony, and completeness of detail. 64 DIVISIONS OF THE VOICE. CHAPTER II. RELATIONS AND ELEMENTS OF THE VOICE. SECTION I. Divisions of the Voice — Elementary and Expressive. The primary division of the voice is into articulate and inarticulate sound. The articulate refers to the vocality, aspiration, quantity, and formation of the al- phabetic elements. The inarticulate, to voice in the ab- stract, or separated from syllabication. The latter regards simply pitch, volume, quantity, and quality; though these elements are generally considered with re- ference to their application to syllabic sound. Dr. Rush has classified vocal sound under five genera — quality, force, time, abruptness, pitch. As force denotes comparative loudness, — and abruptness, certain combina- tions of volume and quantity, they relate to specific, rather than to generic distinctions. In this treatise, Volume comprehends force and abruptness. The voice in reference to expression, may be classed as Characteristic, Significative, Symbolical, and Imitative. It is Characteristic, when representative of tempera- ment, mental, physical, and national traits, social posi- tion, historical and fictitious conventionalities. This di- vision of the voice is personative. It always denotes a COMBINATION E VOCAL ELEMENTS. 65 particular modification of the expression of thought and passion. Vocal sound is Significative, when denotative of pas- sion, determination of the will, the sensations inspired by the contemplation of any subject, &c. Significative utterance is connected with reflection, as well as with feeling and volition. Symbolical expression represents some prominent or distinctive quality or adjunct of an object. Though it thus presents the semblance of a part only, it is, from its suggestiveness, naturally indicative of the whole. This division of expression is elucidative and determi- native. Imitative vocal sound presents a resemblance strictly conformable to the picture in the mind. This is the per- fection of oral exemplification and illustration. It is instrumental in executing the purposes of fancy and imagination, and is the most comprehensively communi- cable mode of imparture by voice. SECTION II. Combination of Vocal Elements. A single emission of the voice, rises, or descends, or continues on a line with its commencing point. As speech always rises or descends, these progressions dis- tinguish it from the unvarying movements of song. Even inarticulate utterance, generally changes from 6* 66 COMBINATION OF VOCAL ELEMENTS. grave to acute, or from acute to grave. The extent of the rise and the descent, depends upon the sentiment, and sometimes upon the syllabic structure of the verbal medium. The significancy of the different degrees of pitch, requires definite volume, quantity, and, sometimes, quality. As the vocal elements are found in the enunciation of every syllable, diversity in their combination, extends from mere difference of intensity on a single element, to variation of progress and intensity on all : disproportional increase and diminution of pitch, quantity, and volume, are the most extensive source of expression. The com- binations of these elements, exhibit volume gradually increasing, diminishing, or instantaneously exploding, its unvaried protraction on a part or the whole of the concrete pitch, and its alternate increase and diminution. Volume as a decrement, may be united with pitch and quantity as increments ; but there are limitations to the increase and diminution, which are determined by the essential character of the forms of the concrete. Increase of volume, the pitch and quantity remaining the same, tends to explosiveness. Variation in quantity, and in amount of volume, is productive of change in form of stress and pitch; and variation in quantity alone, may sometimes render change in the form of stress almost unavoidable. Thus the elements of vocal expres- sion may differ in quantity only, principally, or inciden- tally, in the amount and progression of volume, and, like COMBINATION OF VOCAL ELEMENTS. 67 quantity, volume may be the sole, the chief, or the acci- dental distinction. Difference of degree in concrete pitch, seems to be regarded, by some writers, as the pri- mary distinction in vocal expression ; consequently, the various applications of volume and quantity, are viewed, by them, as only modes of executing the concrete pitch. Whatever prominence, extension of pitch may give to a syllable, pitch has not the power of varying the signifi- cancy which belongs to the other elements ; though its functions cannot be discharged by the others, and its degrees are more definitely marked. The expressive elements may vary in concrete pitch chiefly, but never solely nor incidentally, and may vary in the direction, and (without becoming more or less acute) in the extent of the progress of this pitch. Quality, in some of its modifications, is dependent upon particular combinations of pitch, quantity, and volume ; in others, it can be united with all combina- tions of these elements. Its various kinds and degrees are not so much determinative of the character, as of the significancy of the conjunctions of the other elements. But change in the vocal structure of a single syllable, cannot produce that variation of signification which arises from contrast in the judicious association of diffe- rent forms of stress, modes and degrees of pitch, de- grees of quantity, and modes of quality, in the develop- ment of the meaning of a sentence. It is not by learning how to vary the pitch, or any other element, or to exe- 68 PITCH. cute any mode of speech, that a knowledge of the prin- ciples of expression can be obtained ; but by the proper consideration of the import of the consecutive utterance of the expressive elements, in the current of delivery. SECTION III. Pitch. As this treatise is an analysis of expression, and not of the elements of expression, it is not consonant with its pur- pose, to introduce the minute illustrations and descrip- tions of the forms of diversified conjunctions of the vocal elements, which can be found in works of a more elemen- tary character. A summary exposition of the expres- sive elements, in connection with a comprehensive eluci- dation of the four elements of vocal sound, affords the broadest basis for the illustration of the expressive ap- plication of voice. This applies to the modes of stress and pitch first described in this work, as well as to those which have been explained by Rush and others : the elucidation of volume and pitch, rendering every modi- fication easily understood. As pitch extends from the lowest utterable sound, to the most piercing scream, its intermediate degrees afford means for distinguishing the gradations of thought and passion, according to the mental impressibility which characterizes them. The form of pitch which first presents itself for con- sideration, is that with which a single syllable is enunci- PITCH. 69 ated in mere pronunciation. It opens, with compara- tively full volume, and, while rising or descending, gra- dually and equably diminishes in volume. Dr. Rush, who first described its formation, denominates it the "equable concrete;" and defines its extent, from its initial to its final point, to be an interval of a tone of the diatonic scale. The equable concrete, when not merely pronunciative, can be extended through the compass of the voice, and to various intervening degrees. The voice can rise and descend, concretely and dis- cretely, through every degree of a scale of whole tones ; and it can traverse, in an ascending and in a descending progression concretely, and in an ascending progression discretely, through the interval of a semitone; but it does not descend discretely, less than a whole tone, in semitonic melody. The concrete and the discrete intervals of the second, the third, the fifth, and the octave, are generally viewed as the degrees of ascension and declension in the current of discourse, emphasis, interrogation, exclamation, affir- mation, the cadence, &c. And the observation of the sounds of the voice, with regard to their measurable de- grees, by those whose attention has been directed towards them, has generally been confirmatory of these distinc- tions. — "The cries of a city," says a popular cyclo- pedia, " that is, the scarcely articulate, but often very musical sounds, uttered by persons selling things on the street, generally rise on thirds, or fifths, sometimes, on 70 PITCH. octaves ; and this, although few of these people have ever been taught music. The cry of oysters, by women in Edinburgh, is always on an octave. Teachers of elo- cution are also aware, that human beings in general, naturally make such transitions under the influence of certain feelings. For example, a person indifferently surprised at hearing a friend say, ' I was the person who did so and so,' will say, ' Was it you?' rising only on a third at the last word. If greatly surprised, the rise will be a fifth. There may even be so great a degree of astonishment, that the word ' you' will begin on one note, and terminate on its octave. The answer, ' Yes, it was I,' will show corresponding declensions or falls of voice." Had Walker duly weighed the truth and importance of his own declaration, that " the plaintive tone greatly diminishes the slide," he would, himself, have ascertained, that different degrees of pitch serve definite purposes in expression, and avoided many erroneous views concern- ing the inflections of the voice. In the tremor, the concretes are rapidly executed and iterated on the same line of pitch, or each successive tittle may rise or fall discretely less than a semitone, or each of a number of successions of tittles, on the same line of pitch, may rise or fall by diatonic skips. The degrees of concrete pitch in the tittles, are the same as those of the single syllabic concrete. The formation of the wave by the union of two or more simple slides, does not change the degree of acute- PITCH. 71 ness nor gravity. The junction, therefore, is not made to effect any purpose of pitch, but to extend quantity : consequently, though the wave is a mode of intonation, the consideration of it, from its expressive character, comes under the head of Quantity. The extension of concrete pitch in semitonic melody, is sometimes effected by uniting the semitone with a re- mote interval of the diatonic scale. The extent of the speaking scale, it is manifest, is the compass of the voice. This scale has no fixed arrange- ment of semitones, to determine the positive pitch of the current melody with musical precision ; although the ap- plication of key-notes, may be practicable to a limited extent. But, though a precise note might be assigned as the key-note of a melody, so far as regards the voice of an individual, it would prove too high or too low, for similar expressive ofiices in voices ranging in a different pitch. The relative degrees of current radical pitch, are sufficiently explicit to determine the commencing pitch, and are not promotive of that mechanical unifor- mity which is fatal to vivid and distinctive illustration. As the pitch of the current melody is not marked with the definiteness of the degrees of the concrete pro- gression and the radical skip, and as variations are ad- missible, it follows, that the voice does not pursue the same regularity in forming the general pitch of a sentence as in forming the particular concrete and discrete pitch of syllables. 72 PITCH. The compass and quality of the voice, determine the absolute pitch of the particular key in which a sentiment is delivered ; but similar concrete and discrete move- ments, must be executed in the delivery of the same sentiment and language in all qualities and in all ranges of vocal compass, unless limited compass should render the execution of the wider intervals, impracticable. The analogy between the speaking and the musical scale, has not been precisely determined. The definite positions of semitones in the diatonic scale, are necessary to denote the melodial characteristics of music. This scale presents the sounds which, it is supposed, are produced naturally in the instinctive execution of song. The in- terval between the third and the fourth degree in the major scale, and that between the seventh and the eighth, are not regarded in the diatonic melody of speech. And, though in music the positions of the semi- tones in the minor scale, give the singing of this scale a plaintive expression, the plaintiveness of speech does not require definite places in a scale for its semitonic inter- vals. The third constituent of the rising tritone, extends through the interval of a tone, although its radical pitch is a third above the radical of the first ; thus disregard- ing the semitone between the third and the fourth de- gree ; and no observance of the semitone between the seventh and the eighth, occurs in passing through the compass of the voice by a progression of whole tones. The general exclusion of more than three concrete in- PITCH. 73 tervals of a second, in ascending and in descending progression, cannot, therefore, arise from any necessity of pitching an additional concrete radically a semitone above the radical of the preceding. The radical ascent of a tone above the tritone, is not, itself, discordant, as, after the addition of one or more concretes on the same line of pitch as the third constituent, the voice can as- cend by the skip of a whole tone without marring the melody. But, as there must be a limitation to the rise and descent, to prevent the traversing of the whole ex- tent of the vocal compass by direct progress in diatonic melody, (a mode of progression, painful, laborious, and obstructive of expression,) and, as the tendency of the voice is to vary the application of the same degrees of pitch, and not to increase continually the acuteness or gravity, (which would be suggestive of a continual change in the character of the - sentiment,) certain de- grees of ascent and descent become habitual ; which ren- ders other progressions generally repugnant to the ear, and difficult to the vocal organs, from their singularity. When the first syllable is enunciated, the pitch of the current melody is determined. And, as various senti- ments require different degrees of general pitch, the progression must be confined to that range whicn tne sense of the language requires. To ascend or descend directly by more than three tones, seems to carry the voice beyond the melody ; and when it rises or descends by indirect progress beyond the tritone, or after pausing 7 74 PITCH. at the termination of the tritone, another melody appears to be formed ; as the ascent or descent of a tone, above or below the monotone on the line of the third consti- tuent, constitutes a ditone, and the interval which suc- ceeds the pause after a tritone, is not connected with that progression. The ditone and the tritone are denotative of continu- ation and conclusion and preventive of monotony, with- out indicating a change in the character of the senti- ment. Though four tones in ascending or descending succession — which may be denominated a Quartone — are generally forbidden, yet they may be required for particular purposes of expression. So far as regards the diatonic melody, the absence of any connection of tone and semitone, distinguishes the scale of speech from that of song. The question now arises, can the semitone be a constituent part of any other interval of speech than the minor third, and another mode of utterance * which will be described ? or, in other words, does the fifth consist of three tones and a semitone, and the octave of five tones and two semi- tones, &c. ? If they do, it cannot be truly asserted, that " the scale of the speaking voice has no interspersed semitones, nor is it limited, like that of music, to a pe- culiar arrangement of seven constituent intervals" ;f and the fifth, the octave, and the other intervals, must be measured by a scale which is not known in the exe- * The Minor Fourth. t Rush. PITCH. 75 cution of the diatonic melody. If the fifth, octave, &c, do not conform to the musical scale, their several parts are whole tones, and these intervals must differ in extent from those similarly designated in music : the fifth em- bracing the interval of a minor sixth, and the octave ex- tending a tone beyond the musical octave. But, as they seem to accord in acuteness and gravity with the fifth and octave of the musical scale, they are so denominated. The designations represent modes of speech, which are readily recognized by the ear, consequently have definite significations, and precisely determine the pitch. The intervals of the fourth, the sixth, and the seventh, are peculiar modes of speech. They always seem, as mere sounds, to rise above, or fall below the intonation which the ear demands. They derive peculiar signifi- cancy from the infrequency of their employment ; though in intonating them with the other intervals of the scale in proper succession, they seem to differ from them in degree only : but in discourse, they are characterized by a peculiar shrillness, which may be observed in the mock- ing repetition of a word when the wave is not employed. They occur in the expression of scorn, terror, intoxica- tion, clownish glee, physical suffering, and in suppressed utterance, &c. If it should be supposed, that the characteristics here assigned to the fourth, the sixth, and the seventh, are fanciful distinctions, the accuracy of the supposition can be tested, by designating the pitch of those shrill utter- 76 PITCH. ances which are sometimes heard within the compass of the natural voice, and which do not partake of the nature of the reduced falsette. The interval of the fourth here referred to, appears to agree with the sharp fourth of music, rather than with the perfect. There is a mode of plaintive utterance, which seems to extend the slide beyond the major third, and to bear the same relation to this interval, as the minor third bears to the second ; and to conform, in extent, to the perfect fourth. This form of voice, from its apparent intonation, may be designated the Minor Fourth. The distinct character of the speaking scale, the inad- missibility of the minor scale as a means of determining the extent of the intervals in speech, the fact that the plaintiveness of the semitone is not derived from any particular position, (as when it succeeds a ditone it has the same expression as when it succeeds a tone,) the ex- pressive character of the minor third, render the infe- rence, — that the concrete union in one slide of the semi- tone with the major third, is productive of plaintive- ness, — at least reasonable, if it cannot be positively asserted. Both analogy and audible perception point to the minor fourth as a definitive mode of utterance. But, as the semitone does not render the expression of the octave plaintive, though' considered the terminating constituent, there is an apparent discrepancy, which may be deemed PITCH. 77 an invalidation of the views of the constituent character of one or the other of these intervals. But in this, the decision of the ear must be conclusive. It must not be inferred from these remarks in regard to concrete conjunction, that diatonic succession assimi- lates, in significancy, to concrete progression ; as the manner of executing an interval of pitch, is as important as the extent, and, in traversing through an interval by- tones, the acute or the grave characteristics vary from those of the single concrete. It is from contrast, that intonation derives its expres- siveness ; for in voices widely different in general pitch, similar intonation has generally similar import. The contrast between the graver and the more acute sound in radical pitch, and that between the radical and the vanish of concrete pitch, in gravity or acuteness, present somewhat similar audible effects ; but in diatonic ascent and descent, the regularity of the return of the same interval, prevents any striking contrast : consequently, though the ditone and the tritone are, in general, merely enunciative and declarative, the third and the fourth are, in general, emphatic or expressive. That syllable only, is striking in its discrete pitch, which departs from the current melody by a wide skip. But, although the radical pitch partakes, in some degree, of the signifi- cancy of the concrete, the return to the current melody by discrete pitch, is not analogous to a concrete of the same interval. 7* 78 VOLUME. SECTION IV. Volume. Volume is the amount of vocalized sound, without re- gard to the direction of the progress, the length of the duration, or the properties of the sound. Its various modifications constitute the different forms of stress, and its varied proportions produce the essential distinction, between the accented and the unaccented syllables, and between the extremes of the variations of the simple slide, viz. — the tittle of the tremor and the loud con- crete : the former requires the smallest amount that is adequate to the completion of the pitch, the latter, the greatest that the quantity of a syllable admits without explosiveness. The vocality of the alphabetic elements, is the volume of syllables ; which does not always participate in the upward or the downward movement, as the subtonic, when preceding a tonic, generally continues on one line of pitch. The amount of volume* can be readily in- # The phrase "amount of volume," may appear to be an improper pleonasm, as volume itself, is only the amount of vocalized sound. But volume denotes abstract quantity, or amount of sound, without regard to the variations occasioned by augmentation or diminution ; yet as it is more or less in extent, reference to degree of quantity is sometimes demanded : for this purpose, the phrase specified is employed. In speaking of the increase or diminution of the amount of volume, the phrase is nearly synonymous with the term volume; VOLUME. 79 creased or diminished in compliance with the demands of expression. The short or immutable syllables, do not differ from the long or indefinite, in the amount of volume, but in its extendibility over the wider concretes, and in its capa- bility of protraction * and increase while the voice is progressing. As the volume of short syllables does not admit of the protraction of the full body of the radical, nor of pro- gressive increase, they are incompatible with those modes of stress which require these dispositions of volume. It is upon this capability of continued increase or pro- traction of volume, in long syllables, and not upon the syllabic quantity, that the structure of the loud concrete, the median, the vanishing, the compound, and the tho- rough stress, depend ; as the loud concrete, the median, and the thorough stress can be executed with compara- tively short quantity, and long quantity is generally in- consistent with the required expression of the vanishing and the compound stress. But the utterance of the me- dian stress with short quantity, tends to convert this stress into the vanishing. The tendency of the volume of short syllables to being more specific only. But when the amount is distinguished from the extendibility, difference of import, between the single term and the phrase, is manifest. * Extension of volume without augmentation or diminution in pro- gression of voice. 80 VOLUME. diminish with rapidity, is the source whence arises the rapid concrete, the abrupt radical stress, and the limita- tion of these syllables to the lower degrees of concrete pitch. The distinctive structure of most forms of stress is not affected by the lessening or augmenting of the amount of volume. Deficiency in this vocal constituent, prevents the attainment of the proper extent of pitch, in the various slides, waves, and stresses ; particularly in those which require its continual diminution. Feebleness of voice frequently prevents the formation of the requi- site amount of sound, and is incompatible with any other mode of the concrete than the simple slide. Insufficient amount of volume, when it does not arise from organic feebleness, is caused by improper management of the voice. But this can occur, only when the structure of the equable concrete is retained, or the volume is pro- tracted ; as those forms of the concrete which require an augmentation of volume in their progress, demand the smallest amount at their commencement. Though this section is appropriated to the considera- tion of volume solely, yet the connate relations of vo- lume and quantity are such, as render their involutions almost inseparable in thought, and make a development of the dependence of volume upon quantity, indispensable. The principal effect of proper decrease of volume, is the prevention of the explosiveness which characterises full volume in conjunction with short quantity. VOLUME. 81 When the radical fulness is too great to admit of the vanishing point, or the rate of diminution is insufficient to terminate the volume, and the quantity is too extended for explosiveness, the vanish has something of the ful- ness of the radical. This form of the concrete* is not amongst the acknowledged modes of speech in correct delivery. It belongs to the expression of vulgarity and rudeness, and to that coarseness of voice which is indi- cative of a want of mental and social refinement, or a preponderance of the animal nature. It is distinct from the thorough stress, to the misapplication of which, similar expressiveness has been assigned : but the im- proper use of this stress, savors more of bombast than vulgarity, and its proper employment is in the expres- sion of the loftiest emotions, and most dignified senti- ments, f The explosive stress and the loud concrete, differ in quantity, the loud and the slow concrete, in volume. The protraction of the time of the vanishing, is apt to change this stress into the median, as the jerking charac- * Denominated, in a subsequent part of this treatise, the Abrupt Concrete. f The phrases, "correct delivery," "misapplication of which," (thorough stress,) " proper use," " improper employment," in this paragraph, have reference to certain standards, styled refined con- versational and oratorical speech. A mode of applying the thorough stress which is inadmissible in these modes of delivery, may be dra- matically proper. 82 VOLUME. teristic, which arises from its abrupt termination, is so antagonistic to the extended quantity, that the voice in- stinctively avoids it by gradual decrease of volume. But, if the volume should increase until the voice termi- nates, the augmentation is liable to be unaccompanied with variation in pitch, — a mode of utterance resembling the protracted vanish of song. Reduction of quantity tends to the conversion of the median into the vanishing stress, through the inability of the voice to execute contrary progressions of volume in the limited time. This causes the volume to increase until the voice ceases. No reduction of quantity can render the thorough stress explosive, though it may change this stress into the rapid concrete. The thorough stress most resembles the median in its expressive offices, and has nothing in common with the radical nor the compound stress. Additional quantity and volume, if the speaker does not carefully guard the vocal execution, convert the compound stress into a con- junction of the loud concrete and the median stress. The union of the compound stress and the wave, is an anomalous form of the concrete. It is effected by com- paratively long quantity on the first constituent of the stress, the continuation of the vanishing volume of this constituent, (a loud concrete,) through a large proportion of the extent of pitch, and by terminating with an ex- plosive vanishing stress. This combination of long with QUANTITY. 83 short quantity, of prolonged with explosive sound, and the connection by the extension of the smallest amount of volume, constitute a slightly -whining utterance, for- cibly and abruptly terminating : a mode of stress and intonation ill adapted to the language of command, (to ■which it has been applied,) however applicable to the energetic portraying of peevish repugnance, and the heightening of the expression of derision and of surprise associated with irritation. Dr. Rush's description of the possible structure of the second mode of the shake in song, cannot represent, as asserted, a continued wave whose constituents are compound stresses, as the junc- tion of the constituents forms a median stress. The coalescence of other stresses with the wave, has nothing peculiar, to distinguish this junction from the junction of the stresses with the slides : an explosive stress is incompatible with a wave, and the confining of the vanishing stress to the second or the last con- stituent, must either form a compound stress, or protract a small amount of volume through the first constituent of the single, or through the first two of the double wave. SECTION V. Quantity. Quantity is the duration of syllables. Its variations originate partly in the extendible or the abrupt character of the literal elements, and in the arrangement of them, 84 QUANTITY. and partly, in the requirements of expression. Aspira- tion as well, as vocality, constitutes vocal time ; though its alphabetic forms, when succeeding a vowel, restrict the concrete progression. The protractibility of the vocality of the tonics and subtonics, is the basis of mutation of quantity in syl- lables : the short tonics and the atonies, render the time of syllables immutable. Dr. Rush has divided syllables, with regard to their quantity, into three classes : — the indefinite, the mu- table, and the immutable. The indefinite terminate with a tonic, or with any subtonic except b, d, or g. The mutable contain a long tonic, when they terminate with an atonic, and a short tonic, when they terminate with a subtonic. Syllables containing a long tonic, and ending with an abrupt subtonic, may be ranked with the mu- table, but their quantity admits of almost indefinite ex- tension. When one or more subtonics succeed a short tonic in syllables ending with an atonic, the quantity is somewhat mutable. The immutable are those syllables, in which an atonic immediately succeeds a short tonic. Expression sometimes demands the prolongation of the aspiration of the terminating atonic ; though this extends the time of vocal sound on short syllables, it does not destroy the immutability of the quantity of the syllabic concrete. As quantity frequently depends upon the position of the subtonics and atonies, the same literal elements may QUANTITY. 85 constitute an immutable or an indefinite syllable. This arises from the varied relations of the alphabetic ele- ments to the concrete movement. "When an immutable syllable commences with a subtonic, prolongation of quantity can be effected by protracting the subtonic on a line of pitch before commencing the radical on the tonic, or by commencing the radical with the subtonic, and continuing the subtonic through the greater part of the concrete pitch. But, as the first of these modes of protracting the subtonic, obstructs, to some extent, the equability of the flow of the concrete, and is analogous to the protracted volume of song, and as the second mode prevents the due apportionment of the literal ele- ments, and renders many of them indistinct, they deform the enunciation. For these reasons, the syllable Up, is ranked with the immutable, while the syllable pil, con- taining the same literal elements, is classed with the in- definite ; as the I in pit forms part of the concrete rise or descent without depriving the other letters of their part of the concrete progression. Prolongation of quantity, is the object of the exten- sion of the syllabic concrete through the wave. It attends the protraction and progressive augmentation of volume, and the extension of pitch. But the wider in- tervals of concrete pitch do not necessarily have longer quantity than the more approximate degrees, unless the difference in pitch approaches extremes : for, though the same quantity may be associated with the interval of the 8 86 QUANTITY. fifth and that of the octave, the octave and the second cannot be executed with the same quantity. ^ Every mode of stress, and degree of pitch, admits of various degrees of quantity, and the quantity may be varied on the same concrete progression. The wave is the chief instrument for extending quan- tity. This mode of intonation is distinguished from the simple slide, by the continuation of the voice through contrary flexures, and not by the degree of pitch. There is nothing in its structure which renders long quantity indispensable to its accomplishment, as it can be executed with rapidity ; but the contrary slides afford means for prolongation, and very short quantity on the wave, is contrary to the ordination of speech. The significancy of the wave, apart from the various expressions of the different intervals, depends mainly upon the direction of its second or its last constituent. As degree of pitch is not a distinguishing attribute of the wave, the designating of the extent of the pitch of its constituents by radical skips of simple slides, corre- sponding to the pitch of the flexures, cannot impart to syllables of short quantity the expression of the wave ; and, whatever may be the number of the constituents, there must be a oneness in the signification of the wave, which does not accord with the separate signification of each simple slide. As the quantity of syllables is variable, (whatever may be the rate of movement,) no formal return of the same QUALITY. 87 quantity occurs in expression, to constitute the equality of temporal sections in the rhythm of speech without the frequent employment of pauses of various length. But as the number of syllables in the measures of speech, varies from one to four, there can be no regularity in the recurrence of the accent ; consequently, the pulsa- tive and the remiss efforts of the voice, require equality of time in the measures, to proceed with rhythmical pro- gression. To effect this, the time of the measures must be the quantity of the longest syllable or word ; and as each accented syllable must commence a measure, the time of the measures must be frequently occupied by pauses of such varied length as is incompatible with cor- rect expression.* SECTION VI. Quality. The voice is constituted of vocality and aspiration. But in elocution, unaspirated sound only, is denomi- nated vocalized. The vocalization of the breath, is attributed to the vibration of the chords of the glottis. If this vibration is productive of vocalized sound, its * The metronome of Maelzel is sometimes employed to designate the positive time of the measures. Though this instrument is an important aid to the student in acquiring a command of quantity, its employment to regulate the time of the voice and of pauses in ex- pression, resembles the use made of the stop-watch by Sterne's critic. 88 QUALITY. varying velocity must necessarily vary the character of the sound. From analogy to the sounds produced by the vibrations of musical strings, it is inferred, that the pitch of the voice depends upon the rapidity with which the chords of the glottis vibrate. If a violin string is extended, with sufficient degree of tension, between two points at proper distance, it vibrates, when struck, two hundred and forty times in a second, which produces the note C or Do : if the length of the string should be less- ened one-half, and then twanged, the vibrations would be double, or four hundred and eighty in a second, and the note produced, would be the octave of the first C. So the shortening of the string by varied proportions greater than one-half, produces all the notes of the scale. It is supposed, that in singing the note C, its octave, &c, that the vibrations of the glottis in a second, cor- respond, in number, to those of the violin-string.* The modifications of laryngeal sound, caused by varied reverberation in the organic structure of the voice, either through limitation of resonance to some particular part, or the participation of the whole of the reverberant parts of the vocal apparatus, constitute the various vocal attributes designated by the terms colloquial, orotund, guttural, pectoral, and nasal. These modes of voice, * The purpose for which this reference to the organic causation of pitch has been introduced, does not require an enumerative notice of the different organic actions and positions, which are assigned instrumentalities in effecting variation in pitch. QUALITY. 89 with aspiration and the falsette, are, in elocution, styled Qualities. The varied execution of the qualities, (whe- ther separate, or combined in a greater or less number,) in conjunction with various modes of the other vocal elements, form the characteristics referred to in popular language by the epithets, harsh, mild, rough, smooth, hoarse, clear, full, thin, flat, sharp, thick, round, &c. The nature and structure of the vocal apparatus in different persons, may, doubtless, impart some of the peculiarities which distinguish different voices, and render the sounds so varied ; but diversity in quality alone, con- sists mainly of various conjunctions of vocality and as- piration, different degrees of depth and shrillness, hol- lowness and thinness, and the degree of admixture of nasal and pectoral resonance. Depth and shrillness considered as general attributes, are discriminated from the gravity and acuteness of in- tonation ; as the voice may be low-pitched without being deep, and high-pitched without being shrill. Organic obstruction and muscular compression, are the principal instruments in the diversification of vocal sound. The former stops or directs the course of the sound after its emission from the glottis, and thus deter- mines the nature of the articulate sound and the vocal quality. The latter, when the compression is not suffi- cient to jDroduce rigor in the organic parts, gives com- pactness to the sound, and promotes the resonant action of the vocal apparatus. 8* 90 QUALITY. Depth of voice appears to originate in the retraction of the root of the tongue. Too great a retraction, causes an undue pressure of the muscles around this part of the tongue and the larynx, which confines the rever- berations below the root of the tongue, thus obstructs the flow of sound, and renders the voice harsh and vi- bratory. When the vocal sound is repelled through this straitened passage without reverberation, it becomes semi-aspirated, partially loses its volume, and is deprived of its vibratory character. If the retraction of the root of the tongue is not suffi- cient to obstruct the passage of the voice, but to give due compression to the throat, in order to secure its moulding influence, and allow and promote a high degree of resonance in all the reverberating chambers of the organic structure according to the requirements of arti- culation, the voice becomes hollow and compact, is ne- cessarily free from nasality and aspiration,* and the com- plete concretion of sound prevents vibratory utterance. The organic and the muscular action, and the position of the organs, required in abstract articulation, to form the distinct sounds of the literal elements, produce modi- fications of the laryngeal sound, varying in fulness of vocality, resonant character, &c. When the organic ac- tion of simply distinct articulation, is preserved in the * This denotes comparative exemption, or the blending of no more nasality and aspiration with the vocal quality, than articulation ab- solutely demands. QUALITY. 91 current of discourse, the voice is intermediate between depth and shrillness, is not impaired by exclusive reso- nance in one part of the vocal organs nor by defective vocalization, and, though the volume is not characterized by the highest degree of concentration, it does not lack definiteness of outline. There is a mode of vocal sound, in which the organic action and positions which determine the quality of the voice, seem to be limited to the region of the lips. As the action of the greater part of the vocal organs is ap- parently ineffective, and as the sound produced is distin- guished by a mincing character, which arises from the improper compression of the lips, this mode of voice may be denominated Labial. Reverberation, to some extent, in the throat, the cavity of the head, along the arch of the palate, and the roof of the mouth, is necessary to produce purity of tone. When the veil of the palate is lowered too far, and the root of the tongue is raised too high, too great a propor- tion of sound is forced against the nasal passages, which causes undue resonance, and produces a quality of voice which is distinct from every other, and approximates to no other quality in its most diversified execution. When the lungs are not furnished with a sufficient supply of air, or the action of the abdominal muscles is feeble, the voice seems to be buried within the chest: — the sound is muffled and murmuring, and admits of little diversity in its pitch and volume. When this voice is voluntarily 92 QUALITY. assumed, the feeble expulsive action of the abdominal muscles is imitated. The varied action of the vocal organs, and the diver- sities of vocalized sound, which have been noticed, refer to the most prominent organic causations of the guttural, the orotund, the colloquial, the nasal, and the pectoral, as well as the labial quality, and the primary distinctions among these qualities. The guttural quality, in depth, exceeds all others. The organic obstruction from which it arises, prevents much variation in its utterance. Its harshness is both the effect and adjunct of its vibrations, which cause an unevenness in the diminishing, the augmenting, and the protracting course of the volume. The vibrations cease, and the voice becomes partially aspirated, when this quantity is uttered with explosive force. The orotund is an assemblage of vocal perfections. General resonance imparts to its tone, that hollo wness which seems to be a concentration of the whole laryn- geal sound, for the most sonorous effects, and an expan- sion at each step of its reverberating progress. The essential fulness of volume, is adapted to the most for- cible execution of explosive stress, and the smooth and flowing character, which results from the absence of na- sality, aspiration, and vibration, imparts evenness to the progressive course of volume ; the latter gives distinct- ness to the more protracted forms of stress, and renders QUALITY. 93 them and the widest concrete intervals, perform able with facility. The colloquial or natural voice, is simple, pure tone ; consequently, its excellences are of a negative character. It has not the gravity nor hollowness of the orotund, although equally smooth and flowing. The comparative dissipation of sound, prevents that prominence which the compactness of the orotund gives to the distinctive fea- tures of the forms of stress. The peculiarity of the nasal sound, prevents compa- rison with other qualities. It admits of variation of quantity and pitch, but the different forms of stress can hardly be distinguished when uttered with it. Its em- ployment is admissible in caricature only, or in the re- presentation of some of the traits of the ridiculous in character. When otherwise introduced, it is the greatest fault in elocution. The pectoral is a low but not a deep voice. It is. in- compatible with loudness and shrillness, and admits of little variation in its general pitch. In attempting^ to extend general pitch beyond its limits, impart great force, or execute the wider concretes, the vocalized sound is partially changed to aspiration ; and in the most for- cible efforts, aspiration entirely displaces vocality. The labial quality is a mode of utterance which is not consonant with the depth and force required by merely distinct enunciation. It is antagonistic to long quantity, and can be uttered with the simple slide only. 94 QUALITY. The falsette seems to be a high degree of pitch, rather than a distinct quality. — Though for convenience of re- ference, it may be called a quality. — It is a mode of voice, in which there is no depth nor hollowness, although it can be made to resound in those parts of the organic structure which impart depth and hollowness to other voices. By resonance in these parts, the shrillness of the falsette may be reduced, and something of the hoarse- ness of the guttural, the fulness of the orotund, and the peculiar sound of the nasal, may be united with it. Some of the qualities, although distinct from one an- other in their essential characteristics, exhibit different degrees of the same constituents ; and some are gene- rally, and, in some instances, necessarily associated with certain degrees of volume and general pitch. From the variation of the essential attributes, and of the charac- teristic force and general pitch, approximation in some of the qualities, results. Gradation in depth of voice, is presented by the labial, the colloquial, the orotund, and the guttural ; extremes of general pitch, by the pectoral and the falsette ; and gradation of volume, by the pectoral, the labial, the guttural, the colloquial, and the orotund. The orotund and the colloquial differ in the degree, but these qualities differ from the others, and the others differ from one another, in the nature of resonance. The voice can pass, in some qualities, from one to an- other, without interruption ; as in changing from the gut- QUALITY. 95 tural to the orotund, from the orotund to the nasal, &c. But in passing from the pectoral to the nasal, from the guttural to the falsette, and in other instances, a hiatus is produced. The qualities may either approximate or combine. Combination, as distinguished from approximation, is association of qualities without modification. The gut- tural and the orotund, the orotund and the colloquial, the colloquial and the labial, the colloquial and the fal- sette, may respectively approximate, and, by approxima- tion, produce modes of voice, which are constituted, in part, of the highest degrees of some of the character- istics of the approximating qualities, and, in part, of the lowest degrees of other characteristics. The pectoral can be combined with the guttural, but with no other quality ; aspiration, with every quality except the falsette ; and nasality, with all except the pectoral : but its com- bination with the guttural is to a slight extent only. The combination of the labial with any other quality, adds to the defects of this vocal deformity. Aspiration occurs in various degrees in mere syllabi- cation and in speech. It may constitute the entire utte- rance, or may be united in varied proportions with vo- cality. The extent of its combination with vocalized sound, determines the expressive character of vocal quality. The whisper, or purely aspirated speech, ad- mits of the same variations of quantity as vocalized. The different modes of stress can be executed with it, 96 QUALITY. but with ruggedness, and without that defmiteness of outline which characterizes their finished vocalized forms. The intonation of aspiration is distinguished by a pe- culiarity which sometimes prevents the effecting of the requisite pitch in expression. The pitch of the whisper appears to depend upon the action of the vocal organs in articulation. The modification of the breathing sound produced by change in organic action, in the formation of subtonics and atonies, and atonies and tonics, in syl- labic coalescence, renders the accomplishment of the dif- ferent intervals generally practicable, though in some instances difficult. In simply breathing with acuteness of sound, the tongue is involuntarily raised towards the roof of the mouth ; in endeavoring to intonate the scale with an aspirated tonic, it is found impossible to reach the highest intervals, either by a skip of the voice or by continuous sound, with a tonic whose articulation does not admit of this disposition of the tongue. Some of the tonics are limited in their initial and in their continuous pitch, to the lowest degrees ; amongst them, are those whose vocalized execution admits of the widest intervals with the greatest facility ; as a in all and a in arm. This sometimes prevents the proper in- tonation in accented syllables containing a tonic only. As h requires the same position of the articulate organs as the tonic with which it is associated in a syl- lable, it does not change the characteristics of the tonic intonation. And as w requires nearly the same organic QUALITY. 97 position as oo in ooze, and y nearly the same as e in eve, there is not sufficient variation of articulate action, to render wide intonation practicable by the coalescence of w and oo, and that of y and e; on the contrary, the closer position of the organs required by the subtonics, seems to restrict the admissible pitch of the tonics. It is somewhat difficult to distinguish a more forcible from a more acute aspiration. If the air in breathing forcibly, is expelled through an unobstructed cavity, it partakes of a grave character, — but if made to strike against the roof of the mouth, it becomes acute. Oo in ooze, appears to admit of the least elevation of initial pitch and the least explosive force ; and it is restricted to a continuous pitch of a third ; though e in eve, can- not have a higher continuous pitch than oo, and its ini- tial pitch is restricted to a third, yet it can be uttered with considerable stress, which might be mistaken for a very acute pitch. This can be tested by asking the question — "Did you say eV with the intonation of in- interrogative surprise : the articulation of e prevents the attainment of the requisite interval, and the effort results in additional force, but not increased acuteness. The widest intervals are impracticable on the short tonics, in aspirated as well as vocalized sound. Of the monothongs, oo in ooze, appears to require the lowest, and i in if, and a in an, admit the highest initial pitch. I in if is most restricted in its continuous pitch, while a in an admits of the widest interval. Of the diphthongs, 9 98 QUALITY. o in old, is limited to the lowest range of initial pitch, and a in all, admits the widest. In continuous pitch, they all admit of wider intervals than the monothongs ; that of oi in oil, is the most restricted, and that of a in ale, admits of the most extension. Although the subtonics which have analogous atonies, when aspirated, resemble the atonies, they are not iden- tical with them. If " the subtonics, v, z, w, th, zh, when whispered," were "not respectively different from the atonies, — /, s, wh* th, sh," there would be no difference between vine and fine, his and hiss, &c, in whispering communication. The preservation of the slight difference in organic action, between the articulation of a subtonic and that of its analogous atonic, gives a shriller and somewhat protracted sibilant character to the atonic. The aspi- rating of the subtonics, does not destroy their syllabic character ; which renders a whispered subtonic, more easily distinguished from its analogous atonic when it succeeds, than when it precedes a tonic, from its effect on the quantity, stress, and pitch of a syllable. * Wh is not a distinct element, being only a succession of the atonic and subtonic ; but h is generally mute. ALPHABETIC ELEMENTS. 99 CHAPTER III. RELATION OF THE ALPHABETIC ELEMENTS TO EXPRESSION. The competent elocutionist, in fulfilling the require- ments of expression, finds the characteristics of articu- late sound and syllabic structure, in some instances at variance with the constituents of the expressive sound, and in others, in conformity to them. Every syllable admits of variation of vocal quality, but not of every degree of all qualities. The diversity in depth, extent of vocality, resonant character, purity of tone, harshness, and smoothness, which occurs in the utterance of different syllables with the same quality, produces, in the aggregate of the delivery, variations of the quality, which materially affect its expressive cha- racter.* The alphabetic elements present, in abstract articula- tion, most of those .characteristics which constitute the varieties of quality ; exhibiting, in various degrees, gut- tural depth, orotund hollowness, the comparative sharp- ness and limited volume of the colloquial voice, the com- * In this chapter, the effect of the extendible or the immutable nature of syllabic volume on quantity and stress, and consequently on the character of expression, is not regarded. 100 ALPHABETIC ELEMENTS. bination of vocality and aspiration, pure aspiration, and nasality, but not pectoral nor falsette sound. In mere pronunciation or inexpressive reading, the character of the articulate sound is only slightly per- ceptible, from the inseparable and comparatively rapid articulation in syllabication ; yet the nature of the literal elements, partly determines the expressive capacity of the syllable. But the character of abstract syllabic sound, does not depend merely upon the union of similar or diverse literal elements, but upon the accordance or diversity of organic action in enunciation; which im- parts, according to the facility or difficulty of enuncia- tion, a flowing or obstructed character to syllabic sound. In the variety of sounds embraced in the alphabetic elements, the voice frequently finds instruments, parti- cularly when the words are not monosyllables, to aid in the acquirement of appropriate expression ; and, by the prominent development of some literal sounds, and the comparative slighting of others, mere articulate sound may be rendered expressive. When peculiarity of sound in syllables, results from the coalescence of the elements, mere syllabication may be expressive. The tonics diifer from one another, in extent of vo- cality, as well as from the subtonics, and vary in depth. This refers to the difference in merely distinct articula- tion and to the degree of susceptibility, and not to pos- sible variations. The observation of Rush, that, "in ALPHABETIC ELEMENTS. 101 regarding the circumstances of accent, it ought to be borne in mind, that the difference in kind of the elemen- tary sounds, may, in some cases, be mistaken for a dif- ference in force ; since to many an ear, ee-l and a-le, might seem to be surpassed by ou-r and a-we," — seems to proceed from the opinion, that the tonics are charac- terized by the same amount of vocality. So far as relates to the " circumstances of accent," ee-l may or may not be as forcible as ou-r or a-we, (this depends upon the character of the speaker's delivery), but that it has not the same degree in the delivery of most practised speakers, when, in forcible utterance, the sentiment demands similar stress, is apparent to most observers : that it does not admit as great a degree, is evident. In uttering these tonics with the greatest explosive force and median swell of which they are capable, only the most energetic use of the vocal organs, reaches that forcibleness on ee-l which is attainable with moderate exertion on ou-r and a-we, if any reliance can be placed upon the evidence of audible perceptions ; and the diffi- culty attending the forcible utterance of ee-l, shows, that it is essentially incongruous with great stress. This fact furnishes a solution of the cause of the inadmissibility of accentual radical stress on the first syllables of such words as "beguile, indeed, delay, and revenge," which are referred to by Dr. Rush, as examples of words, in 102 ALPHABETIC ELEMENTS. which the predominance of temporal accent is almost unavoidable. The first and the second syllables of these words equally admit of long quantity ; but the accentual volume of the first, is not so full as that of the second ; conse- quently, while the radical accent can be executed with propriety on the second, its execution on the first, re- quires a greater stress than that which ordinarily cha- racterizes their accentual force, and a diminution of the volume of the second beyond the unaccentual degree. The word perfume, though it has the same "temporal arrangement" as beguile, indeed, &c, can receive the radical accent on either syllable, but if u in the second syllable, had the sound of oo in ooze, and not that of u in use, the radical accent would not be admissible on this syllable : but with the proper tonic sound, the quantity of the second syllable may be long, when the accentual radical stress is applied to the first. In depth combined with resonant fulness, the articu- late sounds of a-U, a-rm, oi-\, o-ld, ou-y, exceed all others. U-j) has a guttural depth, i^-rr and e-nd have collo- quial depth and resonance. A-\e, i-ce, a-ir, and a-t, have a sharper and more expanded vocality than e-rr and e-nd. JE-\e and i-i are the sharpest tonic sounds, and have, excepting oo-ze, the least extent of vocality. The following table presents what appears to be the ALPHABETIC ELEMENTS. 103 order of augmentation of vocalitj in the successive stages of tonic force. The strict accuracy of the pro- gressive order, is not maintained ; but the table is deemed sufficiently accurate for illustration and practical pur- poses. The progression is from the bottom of the column. ou-r, a -11; fl-rm, i-ce, «-le, oi-lf o-ld, M-p, ai-r, a-t, e-rr, e-nd, e- ve 5 oo - ze. The gradation of the tonics in depth, requires, for illustration, a different columnar arrangement. The accuracy of the following gradation, like that of the preceding, is not positively asserted, but the articulation of this series of tonics from e-ve to w-p, demonstrates that articulate depth is at least progressively variable. The reader must discriminate between depth and 104 ALPHABETIC ELEMENTS. pitch, or he will be apt to confound the low pitch of oo-ze with depth. w-p, a -11, a-rm, o-ld, c-rr, ow-r, oi-1, e-nd, ai-r, i-ce, oo - ze, a-le, o-t, i-f, e-ve. The subtonics vary in articulate force and depth, but there is no gradation in either ; and, in depth, but little variation. The diversity in subtonic sound, seems to be constituted mainly of guttural and nasal sound, and combinations of vocality and aspiration. L, m, n, and r, have the highest degree of resonance. The sound of m is partly, and that of n, entirely nasal. R has a slightly guttural sound, resembling, apart from its vibra- tory character, w-p. The sound of Z, is intermediate between that of m and that of r. The vocality of b, d, and g, resembles that of r, but has more guttural depth. V, th, z, zh, have this vocality combined with ALPHABETIC ELEMENTS. 105 aspiration. W and y are, respectively, partially aspi- rated modifications of oo-ze and e-ve. M and ng appear to possess the least force of the purely vocalized forms. L admits of the greatest ; and the abrupt subtonics are more forcible than n. Of the partly aspirated subtonics, v and z have the greatest, and w and zh, the least force ; in extent of aspiration, they appear to increase in the following gradation — w, th, v, y, z, zh. The subtonic r, the abrupt and the semi-aspirated sub- tonics, have nearly the same depth ; even w and y ac- cord more with the depth of w-p, than with that of oo-ze and of e-ve. The atonies vary in sharpness, appearing to increase at each stage of the following succession — p, th, f, t, sh, s. When the characteristics of expressive are adverse to those of articulate sound, there is, sometimes, a mingling of contrary qualities. The syllable ning, when pro- nounced with guttural quality, obtains, through its ge- neral nasal resonance, the least guttural depth; and when the monosyllable grunt is uttered with nasality, the nasality is combined with guttural sound. The par- tial resonance of m in the interior of the mouth, renders ming more susceptible of guttural depth than ning, as the guttural is more approximate to this mode of reson- ance than to the entirely nasal. The difference in literal and syllabic capacity for qua- lity, may be illustrated by the orotund pronunciation of the monosyllables eel and all, even when the depth of 106 ALPHABETIC ELEMENTS. ee-l is increased by the downward curvation of the tongue ; * and may also be illustrated by the imperative utterance of sit and go. — In the latter instances, the sibilation of the aspirates, and the restricted extent and comparative shrillness of the tonic vocality, in sit, are as ill adapted to the requisite expression, as the depth of g and the fulness of o in go, are conformable to it. A similar pronunciation of up, shows that the tonic vo- cality is consonant, through its depth, with the firmness of purpose associated with command, but not with the necessary fulness of sound. When the word woe is used in solemn denunciation, the depth and fulness of its sound, satisfies the ear by rendering the expression ade- quate ; but when the word wail is employed for the same purpose, the absence of the depth of o impairs the ex- pression. The subserviency of articulation to expression is ex- emplified in the varied adaptation of the semi-aspirated subtonics, to those modes of expression in which aspira- tion is combined with vocality, as in the sounds of w and z in the reproachful utterance of weal and zeal. The prominent development of the nasality of m, n, and ng, imparts a sneering expression to the utterance, which is sometimes appropriately significant. The protracted articulation of /, in both occurrences of the word fit in the following lines from Paradise Lost, — * In imparting depth to e-ve or i-f, care must be taken not to change the sound into a likeness of e-nd. ALPHABETIC ELEMENTS. 107 Faithful to whom] to thy rebellious crew ] Army of fiends ! fit body to fit head ! — renders the contempt embraced in the sentiment, au- dible. Articulate sounds are frequently instrumental in the furtherance of imitative vocal expression. In Milton's description of the force of Satan's voice in his address to his legions, most of the literal sounds are strikingly adapted to the audible illustration of the character of the voice. — He caZled so loud, that all the hollow deep Of hell resounded. The fell purpose of Pescara,* in conveying to Flo- rinda a direct image of what would be the agony of Heymeya at the intended torture, and his determination to render his words audible to her, in despite of the ob- stacles which she presented, are admirably aided by the letters ri, re, and e, in the words -' shrill," "screams," and " pierce," in the passage — " Nay do not stop your ears, for his shrill screams Shall pierce the solid deafness of the tomb." In the delivery of the following line — " Sound drums and trumpets, boldly and cheerfully," the heightening of the expression, by the conformity of * The Apostate. 108 ALPHABETIC ELEMENTS. the sounds of the words to their imports,* may be effected through the sonorousness of ou in "sound," the length- ened vibration of r coalescing with the guttural sound of u in "drum," the comparatively sharper sound of "trumpet," produced by the aspirates in both syllables, and the tonic in the unaccented, the fulness of ol in "boldly," and the sharpness of ee in "cheerfully." The adverseness, as well as the conformity of articulate sound to significant utterance, displays the dependence of the completeness of expression upon the syllabic structure. This is evinced by the reading of "Pealed her loud drum, and twanged her trumpet horn." as no mode of utterance can render the words "pealed" and " twanged," exemplifications of the sounds of the drum and trumpet. As onomatopes are constructed upon the principles embraced in this chapter, a partial analysis of a few, will further elucidate the subject. The resemblance in these tropes, of the pronunciation to that which is sig- * The conformity of vocal sound to the import of language, may be either direct or indirect. In the figurative use of words, some sign, quality, adjunct, or effect, may be employed to signify the ob- ject itself. The same employment of signs, &c, occurs in expres- sive utterance. The accordance of the vocal sound, with the sound produced by the drum and trumpet, and with the character of the voice associated with boldness and with cheerfulness, presents vocal metonymies, denoting the musical instruments, the disposition of the mind, and the emotions themselves. ALPHABETIC ELEMENTS. 109 nified, may arise from the prominent marking of any or every literal element, or the commixture of the literal sounds in a compact enunciation. Cr, r, and u, neces- sarily constitute a guttural sound ; the vibrations of r, united to the sounds of g and u, exhibit the characteris- tics of the sound denoted by the term grunt. The ad- ditioD of m to these literal elements, imparts a murmur- ing resonance to the accented syllable of grumhle. The absence of vibration, nasality, and aspiration, gives smoothness to the guttural depth of gurgle. The for- cible articulation of the constituents of the monosyllable gruff, presents the combination of guttural harshness and aspiration which characterizes gruffness of voice. The articulate action of the vocal organs in the dissyl- lable sputter, corresponds to the organic action in the production of the mode of speech signified by the word : the separation of the lips, the pressure of the teeth, and the position of the tongue, in the articulation of s, is the reverse of the action of these organs in the produc- tion of p ; which, with the different action in the articu- lation of u, occasions changes in organic movements, which are difficult in execution, and productive of ob- structed sound. In the word moan, the depth of o, freed from guttural characteristics, the soft sound of m, and the slight protraction of the sound of every literal constituent, exemplify the qualities of a moan. All the constituents of buz possess guttural sound; the sound of z is that which is signified by the term. This word 10 110 ALPHABETIC ELEMENTS. and hum, when made to resound in the chest, become complete imitations of their prototypes. The predomi- nance of aspiration in hush, produces a resemblance to the aspirated injunction to silence. The trilling of the r,* in the accented syllable of ivhirr'mg, combined with the sounds of h and w,"f produces the sound signified. Mew represents a sound incompatible with great force ; the literal sounds are similarly characterized. in growl, adds to the guttural sound of gr the fulness re- quisite to the significant pronunciation. The greater loudness required for howl, is not obstructed by guttural resonance, and is promoted by the sonorous fulness of the sound of ou-r. In shout, there is no subtonic vo- cality; it therefore demands a more sudden utterance than howl ; which, being a protracted sound, partly de- pends for its characteristic pronunciation upon the vo- cality of L The rough and sharp sound of crack and crash, arise from the sounds of r and a-t. The vibra- tory r resembles the signification of rattle ; in the pro- nunciation, the sharpness of a adds to the expressive effect of r. The audible emission of breath through the nose in sneezing, is represented in the word, by the as- piration of s in combination with the nasality of n : the expressive qualities of this literal combination, are fur- thered by the vocality of e. The sound of u is more * A deviation from propriety of mere pronunciation. | In orthoepy, the succession of these letters is the reverse, of their succession in orthography, being hw. ALPHABETIC ELEMENTS. Ill consonant than that of e, with the vocalized breathing through the nose ; thus the difference in tonic vocality, between sneeze and snuffle, slightly resembles the diffe- rence between aspirated and vocalized nasality. The difference in sharpness between e-ve and a-t, corresponds to the distinction between the sounds of creak and crash. The restrictive articulation of w, obstructs the opening of e with radical fulness in the word squeak; and the protraction of the restricted tonic vocality without varia- tion in pitch, produces the sound, squeak. The union of the vibrations of r with the piercing sound of e, is productive of shrillness, as in the utterance of shriek. Harsh and hoarse, as attributes of the voice, are equally rough in sound, but differ in depth ; the same difference obtains in the pronunciation of the two epithets. The sound represented by the word hiss, is the sound of s ; h renders the sibilation more forcible : the tonic adds nothing to the expressive qualities of s, but a deeper tonic would produce a humming or buzzing sound. The position of the lips in the articulation of to, when asso- ciated with the articulation of h followed by that of s, is necessarily promotive of whistling utterance. Sharp and cutting sounds, are appropriated by Dr. Campbell* to the English language, as a distinguishing characteristic. Byron describes the language as a Harsh, northern, whistling-, grunting guttural, Which we're obliged to hiss, and spit, and sputter all. * Philosophy of Rhetoric. 112 ALPHABETIC ELEMENTS. But the causes of the harshness attributed, are fertile sources of expression. The strength and expressiveness of the language, originate in the varied character -of the literal elements. Harshness characterizes a portion only. Those "which are essentially soft, flowing, smooth, or so- norous, form in various degrees, the audible properties of phraseology, and soften the effect of occasional syl- labic asperity. As in music, the admixture of discords or dissonant intervals with the consonant, produces some of the finest strains of harmony, so the conjunction of harsh and smooth syllables in speech, imparts a pleasing- variety, and exempts delivery from the monotony of the languages, in which "not a single syllable seems un- couth." Thus the English language is adapted to the gliding stream of Ciceronian, as well as to the torrent of Demosthenian eloquence. — " Soft is the strain, when Zephyr gently blows, And the smooth stream, in smoother numbers, flows, But when loud surges lash the sounding shore, The hoarse, rou^h verse, should like the torrent roar." DIVERSITY OF STRUCTURE. 113 CHAPTER IV. EFFECT OF THE DIVERSITIES OF STRUCTURE IN THE ENGLISH LANGUAGE, UPON THE CHARACTER OF VOCAL EXPRESSION. The diversities in the structure of the English lan- guage, which affect its audible character, are different degrees of simplicity and complexity in sentences, the length and arrangement of the constructive parts, and verbal similarity, repetition, variety, omission, and re- dundancy. Sentential simplicity, in the natural or grammatical order of words, is most favourable to energetic and per- spicuous expression. Examples of the most striking utterance, contain but few words, and, sometimes, but one. When adverbs, adjectives, and prepositional phrases, occur in simple sentences, and do not require special expression, they afford means for diversifying the delivery, but, in some degree, debar energy of utterance. In complex sentences, the amplification which renders written language perspicuous, often obscures the expres- sion; as the multiplicity of verbal sounds distracts attention. Deviations from simply grammatical arrangement, consist of inversion, omission, and repetition. By in- 10* 114 DIVERSITY OF STRUCTURE. version, words that demand prominence in delivery, may be placed in the position most favorable to the strength of expression ; as when the object of a verb, the predi- cate of a proposition, a prepositional or any other ad- junctive phrase, is placed first.* When an adverb is separated from the word it qualifies, when a verb is placed before its nominative,f an adjective after its noun, or a word is deferred unto the termination of the sentence, it becomes individuated ; and the expression acquires some of the advantages of singleness of utterance. When, in omission, the phraseology is stripped of the words which only syntactical construction requires, and of such words as are implied, the utterance is con- fined to essential words ; which imparts to delivery the effects of concentration. Kepetition of verbal sound, may be employed to de- note fulness of emotion, varied relation of the same idea, or change in signification.^ It may occur consecu- tively, or in the same place in several clauses, or at the termination of one clause and the commencement of the succeeding, or at the commencement and termination of * This is the grammatical order of the relatives who and which, when objects of the verb. f This applies to this disposition of the verb, whether conformable to its grammatical order or not. } Whatever may be the orthographical distinction in words, if they are alike in orthoepy, they constitute the same word in audible verbal communication. DIVERSITY OF STRUCTURE. 115 a sentence. Each repetition without change in meaning, does not absolutely require varied pronunciation ; though diversity is generally more impressive than similarity ; but when difference of import or relation occurs, varia- tion in utterance is necessary. The construction of the hyperbaton, is formal, and more oratorical and poetical than colloquial ; while that of ellipsis, is immethodical and dialogistical. Repetition is both the language of passion and a rhetorical artifice. It may, therefore, be either a natural or an artificial construction. Different forms of these three modes of construction, have been variously designated by the ancient rhetori- cians. Some of these require, whatever may be the sen- timent, particular modes of expression : for example, one mode of inversion, the hysteron, requires the force of expression on the first member. The suggestive nature of one form of omission, the litotes, requires the rising slide or wave at the termination. Repetition in succes- sive phrases makes the other words emphatic. The comparative slighting of the redundant words and phrases in tautology, improves the audible character of the composition. Particularization, in the delivery of the concise style, imparts something of the perspicuity of the diffuse, and a summary utterance of the diffuse, renders it sententious to the ear. Defects in style, are less apparent, when the character of the composition is the reverse of that of the delivery. 116 DIVERSITY OF STRUCTURE. The monosyllabic character of the Anglo-Saxon lan- guage, which pervades the structure of the English, by attaching a signification to each concrete movement of the voice, condenses the sentiment into the least number of syllabic sounds. Dissyllables, trisyllables, and poly- syllables, deprive the expression of the advantages of condensation in rapid and forcible communication. — But when diffusive or diversified expression is required, the unaccented syllables, by gliding more smoothly, or with less hiatus than a series of monosyllables, and by varying the number of concretes in the words, are pro- motive of the diffusiveness or diversity. The length of clauses and sentences has less effect upon the melody, than upon the intelligibility of delivery ; as the division effected by rhetorical punctuation, pre- vents the junction of too many words without pausing : but a succession of simple sentences containing few or no divisible parts, makes each punctuative division similar in length, and the delivery, consequently, monotonous. When the punctuative divisions are all short, the deli- very is characterized by abruptness; when long, it is flowing but tedious ; when they alternate irregularly and capriciously, they may be smoothly uttered, but are not musical. The music of a sentence, requires increase in length, and a subsequent diminution, in the divisions ; but this order must not be followed in every sentence, unless the vocal elements are varied. DIVERSITY OE STRUCTURE. 117 When the number of syllables increases at each suc- cessive division, the delivery is more forcible and decla- matory than harmonious ; and when there is an observable regularity in the return of the divisions, there is a for- mality in the delivery, which is specially inappropriate in all utterance that should seem extemporaneous. 118 IMPORT OF LANGUAGE. CHAPTER V. CONNECTION BETWEEN THE IMPORT OF LANGUAGE AND EXPRESSION. Expression, if it is co-extensive with conception, can convey neither more nor less, than the ideas of the speaker ; whether the conception is true or false, partial or complete. Accuracy of conception, and adequateness of expression, must embrace the relations of every ex- pressed thought to every accessory idea. By words only, little of what passes in the mind, can be repre- sented, and the source of expression, is mostly extra- neous to the accompanying words. The utterance of mere words in succession, is not, therefore, communica- tive of thought, and can only awaken the perceptions of the auditor ; whose comprehension of the meaning of the language, may be such as does not accord with the meaning of the speaker : or, as the delivery has suggested no meaning, the auditor may not be able to perceive any. Absolute sentential signification, when all ellipsis is supplied, is generally restricted to simple declaration, interrogation, or exclamation : the discriminative proper- ties of the absolute utterance, are determined by the connectives. Diversities in the delivery, are mainly pro- duced by the import of the context, the character, situa- IMPORT OF LANGUAGE. 119 tion, and mental state of the speaker, and the purposes of communication ; yet the import of words, sometimes imparts a sense to the language which requires particular expressive characteristics to accompany all the modifica- tions of the delivery ; and, sometimes, the positive mean- ing of a sentence, either indicates or suggests the nature of the expression. The sentence, — " It is he " — may be uttered in every conceivable manner, and the propriety or impropriety, will not depend, in the least degree, upon the absolute sense of the language: but the declaration, — " I hate him" — is essentially incompatible with many forms of expression ; and the actual sense, ever requires a partial uniformity in utterance. So much does the expression depend upon the relations of the speaker, that the mean- ing of the language seems frequently to be derived from them. Thus the words, — "Again thou 'It see her," — in the mouth of Damas, are merely a consolatory re- mark, but to Melnotte, " There is a passion in that simple sentence, That shivers all the pride and power of reason Into a chaos."* Apart from the audible characteristics arising from verbal import, absolute and relative sentential significa- tion, and the circumstances of the speaker, there are those which are required by various figures of speech ;• — the ecphonesis, erotesis, hyperbole, vision, irony, climax, allusion, &c. * Lady of Lyons. 120 DRAMATIC AND ORATORICAL ELOCUTION. CHAPTER VI. - DISTINCTION BETWEEN DRAMATIC AND ORATORICAL ELOCUTION. Difference in position, and of purpose in communica- tion, is the chief source of the distinction between dra- matic and oratorical elocution. The orator communi- cates directly to his audience, the actor, indirectly. The end of oratory, is conviction and persuasion ; that of dramatic representation, is elucidation, delineation, and personation. Expression, with the orator, is merely an adjunct, and never assumes the position of principal ; with the actor, it is the sole object ; and its relative im- portance requires corresponding superiority. The directness of the orator's communication demands, in order that the whole scope of expression may be per- ceptible to his audience, that unity in the character of the utterance which is incompatible with completeness of detail, and entireness of each component part. The intermediation of colloquy and soliloquy in dramatic communication, being promotive of circuitness of impar- ture, permits the extension of the delineation of every idea to all its relations ; which renders dramatic expres- sion an aggregation of consonant parts, each of which is, in itself, a perfect whole. But in oratory, the ex- DRAMATIC AND ORATORICAL ELOCUTION. 121 pression consists of parts which are essentially of a con- stituent character, and the primary idea is generally the sole object of expressive development. The character of oratorical expression changes with the general turn of the sentiment, or rather, as the character of the dis- course varies. It, therefore, varies less in detail than the dramatic, and does not embrace the same extent of variation. The partial character of its development, renders it more suggestive than representative ; and better adapted to the presentation of signs and symbols, than the form and semblance of ideas. The form of dialogue or soliloquy, is subordinate to the ultimate design of dramatic representation; — the character of conversation or self-conference, must not be preserved at the expense of elucidation and illustration ; — while the orator acts, as the actor would, if his com- munications were confined to the other persons of the scene. The emotions of the actor, are such as are produced by the events of life ; those of the orator, such as arise from the contemplation of sentiment. Beside these distinguishing properties, the actor's ex- pression is modified by various circumstances occurring in the scenes, which can never happen to the orator. His expression of sentiment must be conformable to the character represented, and the modifications of senti- ment arising from the nature of the character, must be duly developed. When the orator's emotions impart 11 122 DRAMATIC AND ORATORICAL ELOCUTION. sufficient earnestness to his manner to awaken the sym- pathies of his audience, his end is attained. The actor's impassioned delivery should represent the appropriate mental state of the character, without regard to the effect upon the audience. Consequently, while the cha- racter and circumstances of the audience are generally disregarded by the actor, the expression of the orator must be adapted to them. Dramatic orations partake of the character of dialogue, in form, language, and expression ; but with something of the elevation and formality of style which in real life distinguish oratory from conversation. When the dialogistic character of oratorical scenes is preserved, they become artificial, and, if not illustrative of character or a requirement of the scene, inappropriate. The speech of Brutus on the death of Csesar,* is de- signedly and necessarily inferior to that of Antony ; for this reason, its artificial construction and forced antithe- ses are appropriate : as their unfavourable contrast with the natural and unlabored language in which Antony masks his insinuations, accord with the requirements of the occasion. * Shakspeare's Julius Caesar. EMPHASIS. 123 CHAPTER VII. EMPHASIS. As variation of the vocal elements in extent and manner of application, is ever occurring in their discri- minative employment, extension of pitch, volume, quan- tity, and change of quality, cannot, themselves, con- stitute the import of a term, which is indicative of a special fact in oral language. The restriction of the term emphasis to comparative force of utterance, and the ampliation of its meaning by including denotement of emotion, development of syn- tactical connection in obscure constructions, and the manifestation of the sense of elliptical sentences, would render its purport so vague, and its use so indiscriminate, that emphasis would cease to be a distinctive constituent of expression, and become confounded with every acci- dent of the voice. Yet the definitions given by writers on elocution and rhetoric, generally accord either with the limitation or amplitude of meaning here presented. But, fortunately, the object of emphasis, has been com- prehended from its occurrences in speech, rather than through the explanations of writers. Pathognomy, in- terrogation, calling, commanding, denying, &c, often require what are, by some, considered the constituents 124 EMPHASIS. of emphasis, when not an emphatic word occurs ; though "high powers of stress, extreme length of quantity, wide "intervals of pitch, and a peculiar quality of the voice," may "be set on certain words"* in these instances, yet these do not render the words emphatic, as the vocal prominence is not associated with the special import of language, but with the purpose of communication ; and, if mere difference in degree of force or any other con- stituent of expression, cannot be considered denotative of emphasis, because it would render "half of the words of language emphatic," vocal prominence itself, cannot be emphasis. Imitative expression may frequently be associated with a single word in a sentence, and it may distinguish the word from all others : but as this expres- sion has reference to the absolute import of the word, without regard to the sentential, it communicates no spe- cial significance ; if the conspicuousness in utterance, renders the word emphatic, emphasis is not dependent upon the sense of the language. The partially interro- gative intonation, in an indirect question, may consist of wide concrete pitch on one or two syllables, and a diatonic melody on the remainder ; yet the word or words, associated with wide interval of concrete pitch, are not deemed emphatic. These examples of vocal prominence without emphasis, show the reason, why " the point in the respective gra- dations of these powers," (stress, quantity, pitch, qua- * Rush. EMPHASIS. 125 lit j,) at which " the emphatic character begins, cannot be assigned : " * no such point exists. Walker's explication of emphasis, presents a clear and definite view of its purpose. In accordance with the principles laid down by him, emphasis may be defined the development and enforcement of antithesis solely. This definition, doubtless, appears too narrow, for those who think that " emphasis is nothing else than expres- sion concentrated and condensed into an accented syl- lable," f and for those who do not conceive its com- prehensiveness. Locke observes, that " knowledge is the perception of the agreement or disagreement of two ideas." According to this, the decisions of the intellect, must arise from the comparison or contrast of ideas, and must be the inclu- sion of some relations and attributes, and the exclusion of others. To conceive justly the meaning of language, is to ascertain which of the properties of associated ideas are embraced in the connection of thought, and which are excluded. Though language is susceptible of varied meaning, yet the fundamental import must be unchangeable ; for if this vrere not fixed, language would be meaningless. The particular modification of the fundamental im- port, or the particular relations with which this import is associated, must be determined in expression. The association, in the mind, of those contingencies and re- * Rush. t Murdoch and Russell's Orthophony. 11* 126 EMPHASIS. lations which give the essential meaning its special ap- plication, with the fundamental idea, and the exclusion of those which are incompatible with the intended mean- ing, constitute an antithesis in thought ; the development of which, in utterance, is emphasis. If this is a correct and complete exposition of emphasis, this instrument of expression is merely determinative of the special application of language, and is unconnected with the general import. It is, therefore, not a mani- festation of sentiment, emotion, nor purpose of com munication, whether the delivery is impassioned or di- dactic, declamatory or simply declarative. Though the object of emphasis, is to show which is, not what is the meaning, yet it necessarily supplies the place of words, and prevents circumlocution. But, in supplying the place of words, it cannot embrace every inferential idea, but merely the contrary of that repre- sented by the emphatic word. Misconception of the purport of emphasis, has led to the most extravagant ideas on the subject. It has been made to embrace almost the whole of vocal expression ; and Sheridan has made it denotative of even more, than what he has assigned to vocal expression itself. He affirms that vocal expression is not a language of ideas, and yet asserts that an emphasis on the conjunction "and" in these lines of Tamerlane — Can'st thou believe thy prophet, or, what's more, That Power Supreme, that made thee and thy prophet? — EMPHASIS. 127 contains the following meaning : — " This prophet whom thou worshippest, and to whom thou payest the chief honors, was only a creature like thyself; made by the same Almighty Being, and subject to the same laws."* Amongst the misconceptions of emphasis, is to regard it as a mere arbitrary distinction. In accordance with this view, Blair cautions the speaker, against " multiply- ing emphatical words too much": when the number of emphatic words, no more depends upon the caprice of the speaker, than the number of accented syllables. Another writer renders emphasis absolute, by making all adjectives emphatic. The application of these diversities of emphasis, would both confuse and pervert the meaning of language. The skilful elocutionist, by ever requiring an antithesis, either expressed or implied, in emphasizing words, phrases, or clauses, avoids all perplexity in regard to the position of emphasis, and prevents ambiguity in sentential import. Emphasis in the abstract, does not require any parti- cular combination or execution of the vocal elements, * The error of Sheridan consists in making emphasis denote more than expression, rather than in misrepresenting it ; though its signi- ficant power is exaggerated. His complex emphasis presents an ex- ample of a wider departure from the real purpose of emphasis, and? like the absolute emphasis of Knowles, the interjective and the ellip- tical emphasis and the emphatic tie of Rush, the specifying and the enumerative emphasis of others, as such, is no emphasis at all. 128 EMPHASIS. except the direction of the inflection. However the vocal elements may be diversified, in regard to extent, mode of execution, and combination, in emphasis, the diversities belong to the character of expression solely. Whatever serves to mark the word or words that should be emphasized, even a diminution of volume, quantity, or pitch, or a change to a less striking quality, is expres- sive of emphasis ; but should not be considered a quality of it. In the current of delivery, words are sometimes so distinguished, that they might be deemed emphatic, if their conspicuousness did not arise from other sources ; as speciality, allusion, designation, without contradistinc- tinction, &c. Antithesis, in relation to emphasis, comprises affirma- tion, negation, priority, preferableness, superlativeness, addition, admissibility, in connection with contrast and distinction. Sometimes the emphasis does not control the inflection. When the language implies interrogation, contingency, doubt, conditionality, the inflection of the emphatic word .accords with the current of expression, whatever may be the character of the emphasis ; that is, the rising slide or inverted wave, occurs, where, if the language were positively declaratory, the falling slide or direct wave would be necessary ; * as Lady Macbeth. " Would'st thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem V * This refers to mode of concrete pitch on the accented syllable solely, if the word is not a monosyllable. EMPHASIS. 129 Macbeth. " If it were done, when 't is done, then 't were well It were done quickly." Richelieu. " He a king, You — woman ; well, you yielded.'''' u Shyloch. " And thrift is blessing", if men steal it not." The following rules and examples, except the last, illustrate occasions, when the emphasis determines the direction of the vocal inflection, if the direction is not incompatible with the current of expression. — 1. The affirmative power of the antithesis, requires the falling slide or direct wave, and the negative, the rising slide or inverted wave ; whether one or both parts of the antithesis are expressed. Macbeth. " We have scotched the snake, not killed it." Macbeth. "And take the present horror from the time, That now suits with it." Malcolm, " Be not offended ; I speak not as in absolute fear of you." The word or words with which priority, preferableness, superiority, or inferiority, is associated, are pronounced with the falling slide or direct wave. When the relative part of the antithesis is expressed, the rising slide or in- verted wave, is required. 130 EMPHASIS. Othello. " No, Iago ; I'll see, before I doubt." Brutus. " I had rather be a dog and bay the moon, Than such a Roman." King Claudius. "A very riband in the cap of youth." Hamlet. " A vice of kings." 3. Words that have a superlative import, demand the falling slide or direct wave. Macduff. " Up, up and see, The great Doom's image." Whenever this slide or wave is required, the emphasis may be called superior ; and whenever the contrary, it may be called inferior : as the former denotes inclusion in the affirmation, whether of preferableness or priority, superfluousness or addition, &c. ; the latter, exclusion from it. 4. When something remarkable or specific is affirmed of an additional subject, the superior emphasis should be employed on the additional subject, the inferior, on the original. De Beringhen. " Fact in philosophy. Foxes have got Nine lives, as well as cats.'''' 5. The admission of something understood or evident, and the denial of something important, is a form of anti- EMPHASIS. 131 thesis, in which the negative part constitutes the superior emphatic member ; as this part may be deemed an affirm- ation of negation — although the phrase literally involves a contradiction in terms. King Claudius. " Where 't is so, the offender's scourge is weighed, But never the offence.'''' 6. Addition with distinction, demands the superior em- phasis. n Desdemona. "And have you mercy, too ! " 7. When the affirmation does not exclude the correspon- dent antithetic object, the inferior emphasis is required.* Macbeth. " I see thee yet, inform, as palpable As this, which now I draw." 8. Emphasis requires the transposition of accent in paronomasia. Wilford.\ " He conquered all the world, but left wnconquered, A world of his own passions." * This is a peculiar application of the inferior emphasis, and ap- parently, an exception to its general use. Form is excluded from the emphatic affirmation, though its palpability is asserted. But the special reference in the mind, is to the real palpability, which is neither asserted nor denied. The falling slide on form would be a virtual denial of the real palpability; and that which is evident needs no enforcement in declaration. f The Iron Chest. 132 EMPHASIS. These rules exemplify the extent of the controlling power of emphasis ; which is evidently too limited, to embrace even a considerable part of the " rules of elo- cution ; " although it has been declared that emphasis controls every rule. The nature of emphasis may be further elucidated, by contrasting it, with some of those instances of vocal prominence which occur in the manifestation of some particular intention of the speaker. The italicised words in the succeeding passages, are necessarily promi- nent in utterance, through the presentation of the allu- sion, speciality, and designation, respectively intended. Lady Macbeth. " He that 's coming, Must be provided for." Alvarez, (to Hemeya). " Thou art a Moor, thy nation is a slave, And though from Moorish kings thou art descended, The Christian spurns thee." Bertram, {to Imogen). "A despot's vengeance, a false country's curses, The spurn of menials whom this hand had fed, In my heart's steeled pride I shook them off." PUNCTUATION. 133 CHAPTER VIII. PUNCTUATION. The term pausing, as applied to speech, does not de- note strictly a mere cessation of the voice ; as the inter- ruption of syllabic sound, is necessary to prevent con- tinuance of sound and indistinctness of syllabication, and as a longer pause than that which divides syllables, is indispensable to the separation of words. Yet neither intersyllabic nor interverbal pauses, are included in punctuation. Length of duration does not constitute the cessation a punctuative pause ; as in rapid delivery, many of the short pauses are not as long as interverbal cessations, in slow and solemn utterance. Proportionate duration is, therefore, the source of the expressive import of pauses. Sheridan denies the ne- cessity of regarding due proportion of time, and deems it scarcely practicable by the speaker, and obstructive of a full comprehension of the meaning of language to the hearer, through the distraction of the attention by the measurement of the duration. This is a confounding of the means with the end. The sense of the language, enforces the proper relative duration, through the natural influence of thought on expression, without requiring a 12 134 PUNCTUATION. nice and cautious regard to the length by the speaker : and the hearer's attention is not directed to the means, by which the import of language is developed, but to the meaning conveyed ; which is manifest to him, whether he has noted the pauses or not, in the same manner that the essential significance of pitch and force, is evident to him, without measuring intonation, or ascertaining the form of stress. The necessity of observing proportionate duration, is evinced by making a long pause at the termination of the first line of Catesby's reply to the horror-stricken Richard, and a short one at the word Lord in the same line. — "Richard. Who's there? Catesby. 'T is I, my Lord ; the early village cock — Has thrice done salutation to the morn." This punctuation would tend to excite laughter. A long pause at much, and a short one at head, in Richard's exclamation — "Off with his head, so much — for Buckingham," would be equally ridiculous. But in both these instances, appropriate intonation renders the absurdity less apparent. Pausing is the time for portraying thought and the state of the mind, without the instrumentality of words. Combe the phrenologist, instances the long pauses in the elocution of John Kemble and Mrs. Siddons, in which PUNCTUATION. 135 the audience saw the mental state prolonged over the whole interval, as examples of continued feeling. The greatest actors that have trod the English stage, have employed long pauses as one of the most effective means for producing the most striking effects, and for elucidating character and sentiment. Quin sometimes paused so long that his audience was in doubt whether he intended to proceed or not. Some critics censured the long pauses of Garrick. Kean's were also condemned. The misuse of long pauses, is a just subject for critical animadversion ; but their effectiveness will ever justify their employment, when not inconsistent with character, situation, or sentiment. " When from Nature's pure and genuine source These strokes of acting flow with generous force, When in the features, all the soul 's portrayed, And passions such as Garrick's, are displayed, To me they seem from quickest feelings caught, Each start is Nature, and each pause is thought.'' General principles only, particularly in dramatic elo- cution, can define the application of pauses, which is too circumstantial to be determined by special rules. The principle advanced by Sheridan, that pauses in general depend upon emphasis, or the linking of words related to the emphatic word, and the separating of others, affords a basis for the punctuation required by the sense, without regard to the diversities produced by character, emotion, structure of the language, situation and circum- stances of the speaker. 136 PUNCTUATION. Petulant and irritable characters, require short and abrupt stops; — aged characters, long pauses: as the latter demand cessations of the voice at the end of words ■which are as long as pauses in other characters. Another example of characteristic punctuation, is afforded by the stops which, " In a false disloyal knave, Are tricks of custom." The trepidation of De Beringhen, causes him to pause, or rather breaks the current of his speech two or three times in his simple congratulatory remark to Richelieu — "you are most happily recovered." The position of the word "month," in the following answer of Huguet to Richelieu, — "A triple wall, — A drawbridge and portcullis — twenty men — Under my lead, a month might hold that castle Against a host", — renders it liable to be mistaken in delivery, for the nomi- native to the succeeding verb ; a pause is therefore ne- cessary, to separate it from the auxiliary "might" : but if the phrase, "a month," were placed after "castle," it could be united in delivery with the phrase from which its position requires it to be separated. All situations in which the speaker dreads to commu- nicate his thoughts, are distinguished by interruptions of the voice which break the connection of language formed by the sense and syntax, as King John's prompting of PUNCTUATION. 137 Hubert to murder young Arthur, and Richard's suggest- ing of the death of the young princes to Buckingham. And among those circumstances which determine the length or number of stops, may be named those inter- ruptions which arise from the presence or actions of other persons in the scene, and from occurrences that demand the immediate attention of the speaker. The application of pauses, is so intimately connected with the process of thought, that the grammatical rela- tions of words is only a secondary consideration. Yet as the relations of thought depend in a great degree upon the syntactical dependence of w T ords, for their de- velopment, this dependence should not be disregarded in punctuation. The general absence of inflections in the English lan- guage, requires juxtaposition of syntactically dependent words ; which promotes junction in utterance. Although the prominence in the mind of a part of a clause, or sentence, or the subordination of every part to the whole, may lead to the separation of words grammati- cally related, or the connection of those which are not, yet it rarely occurs that a word not emphatic, is sepa- rated from another to which it is united by position and syntax, and joined to another to which it has no syntac- tical connection ; unless it is united to a phrase which has the import of a dependent part of speech, or the connected words have the same grammatical construc- tion, or a predicate is united to the verb. 12* 138 PUNCTUATION. Words without connection, do not represent thought ; hence, the utterance of a word without the word or words upon which it is grammatically dependent, leaves the sense and structure incomplete, not only as a whole, but as a part. The connecting of words having no grammatical relation, produces an unintelligible jumble. The division of dependent words is admissible, when one or both of them are united to others, for the purpose of presenting some shade of thought for abstract contem- plation. When the grammatical order of words is in- verted, those become united in the structure, which are not associated in the sense ; this renders pauses more frequent in inverted, than in grammatical collocation. Some parts of speech are so inseparably connected with others, that, though they are immediately succeeded by unrelated words, the mental demand for the dependent word, carries the voice onward to the succeeding word. Such is the connection between the article and the noun ; the preposition and the noun, pronoun, or participle, which it governs ; and between the noun or pronoun in the possessive case and its governing noun. The relation of pauses to syntactical dependence, is ably treated of by Walker ; but numerous exceptions to his principles and rules of rhetorical punctuation must occur; exceptions arising not only from variations of sentiment, but from the varied character of phraseology ;* as in the following instances. — * " Cooke," observes a writer, "frequently tramples down all scho- PUNCTUATION. 139 The unity of a compound sentence, or the greater or less connection of the parts, according to the introduc- tory or conclusive character of the former and the modi- fication or additional character of the latter parts, and the degree of simplicity or complexity, may generally determine the relative length, in didactic delivery, of the pauses which distinguish the constructive parts of sentences. But this is greatly modified in the diversi- ties of expression, and some of the minor pauses, are sometimes disregarded. Whenever the clause or phrase, intervening between the nominative and the verb, is of a determinative cha- racter, the meaning is best developed by the conjunction of the determinative clause or phrase with the nomina- tive, as — "The labor we delight in — physics pain." If words placed between the verb and its object, par- take of an adverbial import, they should be associated with the verb ; as — "I took by the throat — the circumcised dog." So close is the connection between a verb and its ob- lastic rules ; the ordinary stops and the whole doctrine of punctua- tion, seem, at times, to be but the sports of his genius : hurried on by Nature, he wings his way over the impediments which check and fetter common formalists in speech, and in doing so, infuses into the meaning of the words a subtilty of sense and an energy of expression truly astonishing." — Mirror of Taste, vol. iv. 140 PUNCTUATION. ject, that the mind demands the object on the utterance of the verb ; this renders a pause after a transitive verb apparently artificial ; even when required by the sense ; as in the sentence — "You lack — the season of all natures — sleep." Yet when other words are conjoined with the verb, a pause generally occurs before reaching the object ; as, " I have done the State — some service." In the italicised clause in the following passage, — " Besides, it should appear, that if he had The present money to discharge the Jew, He would not take it," — the words occurring between the two verbs, are not separated from the latter, although this verb is in the infinitive mood. When several successive words have a similar gram- matical relation to a single word, their equal dependence should be developed. This may be done, either by sepa- rating all of them from the word upon which they de- pend, or by uniting all of them to it. For, if one is united, and the others are separated, their connection will not, to the auditor, appear equal. The phrase, " a violent and ungovernable passion," may, according to the general usage of the language, denote a passion which is both violent and ungovernable, or two passions, one PUNCTUATION. 141 of which is violent, the other, ungovernable. A pause at violent, would be instrumental in assigning the cha- racteristics denoted by the adjectives to different pas- sions, and the omission of this pause ; would be an ascrip- tion of both characteristics to one passion. Walker does not deem equality of dependence, a rea- son for the insertion of a pause ; and in confirmation of this view, asserts the inseparable nature of the connec- tion between the adjective and the noun, when the former precedes the latter, whether the adjective is a part of a series or not, and the inseparableness of a nominative unconnected with adjuncts from its verb, when other verbs are connected with it, as the nominative which is understood before each of them. Walker thinks a pause inadmissible between a noun and the adjective immediately preceding it, because, as a modifying word, the adjective "gives the mind no ob- ject to rest on." If this were a sufficient reason for uniting the immediately preceding adjective to its noun, it would be sufficient to prevent a pause after any adjec- tive in a series placed before the noun. "Violent," in the phrase referred to, when isolated, no more gives the mind an object to rest on, than "ungovernable" would; yet Walker allows a pause at "violent," to "distinguish it from ungovernable" ! If this reason were tangible, as regards the adjective and noun, it would also require the conjunction of the adverb with the verb, if it should precede the verb ; but this disposition of these parts of 142 PUNCTUATION. speech, is more compatible with an intervening pause, than the reverse order. The connection between the adjective and the noun in what is called the inverted order, is not so intimate as in the natural order, nor of the same character. The precedent adjective, invariably belongs to the noun, and is as closely connected with the noun, as with any word through which its own import is modified. The suc- ceeding, forms frequently a part of an elliptical phrase, and belongs to a pronoun understood ; as in the following clause, — " There 's nothing serious in mortality." The completion of the structure, — " There is nothing that is serious in mortality" — shows the syntactical construction of "serious." Again, the adjective which follows the noun, is sometimes more closely connected in sense with the succeeding phrase, than with the word to which it syntactically belongs ; as, "And his great love, sharp as his spur." Though the connection of adjective and noun in the inverted order, is indirect and subordinate, in comparison with their connection in the natural order, yet Walker deems them equally inseparable, unless the succeeding adjective is one of a series. But, though the precession of the adjective is attended with so close a connection, and though in general speech, the adjective thus placed is conjoined to the noun, not only when it is single, but PUNCTUATION. 143 when it is a constituent of a series divided by one or more pauses, yet the development of the construction of one adjective in a series, is no more necessary, than the development of the construction of another ; and dissi- milar association is incompatible with the same depen- dence, when adjectives precede, as well as when they succeed a noun. The constituting of a class by them- selves, the reason assigned by "Walker for separating the first of a series of succeeding adjectives from the noun, is not an adequate cause for the distinction thus drawn between a series of preceding and a series of succeeding adjectives ; as phraseology is not an aggregation of the same or of different parts of speech, but combinations arising from dependent relation. And as the same parts of speech in succession, unless they are adverbs, or a noun in the possessive case and its governing noun,* can have no syntactical dependence Upon one another, punc- tuation should be used for the purpose of dividing, rather than uniting them. The dependence of several verbs upon a single nomi- native, like that of several adjectives upon a noun, is not compatible with the conjunction of the nominative and the verb which are conjoined in position; for the * To these exceptions, the verb in the infinitive mood, and the verb of which it is the nominative or objective, might be added. But the verb in the infinitive mood, so far as it relates to the other verb, has the construction of a noun. 144 PUNCTUATION. same reason that the contiguous adjective must be sepa- rated from the noun. The separation of words intimately associated, does not accord with customary speech ; which, when the con- nection of words is close, hurries the voice onward : but elocution demands the observance of those precise ana- lytical pauses which develop verbal relation. The propriety of a pause for showing the " equal re- lation of words, even when the words separated are most intimately united," is manifest, by the pause required between the words "to" and "themselves" in the sentence — "To suppose the zodiac and planets efficient of, and antecedent to themselves, would be absurd." Emphasis itself, does not require a pause after "to" and even according to Walker, one object of a pause at of and at to, is to show the equal relation of these words to the word "themselves;" although this declaration is contrary to his own principles. Whatever causes may diversify the character of punc- tuation, the pauses required by the sentiment, must ever be most prominent, unless the other pauses are in- terruptive. All peculiarities attending pauses required by the sense, and the number and length of all other pauses, must be associated with the character of the delivery, rather than with the language. PUNCTUATION. 145 The pauses required by the sense, and those required by the character of the utterance, are sufficient to pre- vent all difficult continuation, and render the interven- tion of pauses for the sole purpose of affording rest to the voice, needless. Rhythmical pauses, being partly dependent in length and number, upon the quantity of syllables, the number of unaccented syllables and monosyllables, (as imperfect measures must occur, and their time is consequently completed by pauses,) cannot always accord with the sentiment, which is subordinate to the rhythm. A con- formity of the length of pauses to the characteristic time of utterance, is demanded in truly expressive delivery ; (though expression sometimes requires disproportion); but this is an accordance of the time of pausing with the sense, and not with the melody. The proper position and number of pauses is not only necessary to prevent the confusion by which phraseology is rendered meaningless, but also to prevent a meaning which does not accord with the context. The varied import of which language is susceptible through varied punctuation, may be illustrated by the following examples : " To die — to sleep — no more. 17 "To die — to sleep no more." "Signor Antonio, many a time and oft — In the Rialto, you have rated me." 1 Signor Antonio, many a time — and oft In the Rialto, you have rated me." 13 146 PUNCTUATION. Churchill writes — "When reason yields to passion's wild alarms, And the whole state of man is up in arms, What but a critic would condemn the player For pausing here, when cool sense pauses there?'' 1 But whatever may be the number, length, and place of the pauses, occurring in the expression of the abrupt- ness or rapidity of passion, the meaning of the language should be manifest. This accordance of the meaning with the diversities of pathognomical punctuation, arises from the fact, that the lengthening of necessary pauses, renders the intro- duction of short pauses, in some places, ineffective of any modification of the sense, and the fact that the shortening of pauses is also ineffective of any variation of meaning, so long as the comparative length is un- changed. — Instances must nevertheless occur in the delineation of the throes of passion, in which the breaks in the voice, occasion a disruption of the connection of lan- guage, and consequently, to some extent, confuse the meaning. If the following passage should be read with the pauses indicated by the mark *] , as well as those indi- cated by the grammatical points, improper association and disjunction, perverting and confusing the meaning, would be manifest. The impropriety of the punctuation results from the disregard of the connection formed by PUNCTUATION. 147 the sense, syntax, and the dependent relation of words and phrases. — " Heaven make ^ thee free ~j of it. I follow *"] thee. You, that ~j look *j pale, and tremble *] at this chance That M | are but mutes *"] or audience to this act, Had ""] I but time, (as this *"j fell sergeant death, Is strict ~j in his arrest,) oh ! I could ""j tell you — But, let ""I it be. — Horatio, Report me *] and my cause aright To the unsatisfied." The following punctuation of this passage, being founded upon all the relations of the words and phrases, is in accordance with the sense of the language, but not the condition of the speaker, Hamlet. — The proportionate length of the pauses, is denoted by the number of marks. " Heaven make thee free of it, ""ITfj I follow thee. "J", , You, "j"j that look pale,'"p] and tremble at this chance, ~pn That are but mutes or audience *j to this act, "fTI Had I but time, *pj (as this fell sergeant *"] death, *] Is strict in his arrest), ~p] oh ! **j I could tell you — ~["fTl But, *j let it be. ~-jT, Horatio, *f| Report ""j me and my cause ""j aright *|*| To the unsatisfied." Though this punctuation agrees with the sense of the language, yet Hamlet's agony and convulsions during the delivery, cause interruptions of the voice, and pro- tractions of pauses, which exhibit a wide departure from 148 PUNCTUATION. it. The following is more consonant with the required expression : — "Heaven Tfj make thee "pj free "J of it, ~fift] l T\ follow 1 thee. TmTm You, *pj that look ~j pale, Tfj and tremble *] at this chance, 777] That are *j but mutes Tj or audience 7n to this act, 7TT1 Had I *j but time, 7"p] (as this "j fell sergeant 7*j death, 7"] Is strict *j in his arrest), 7fj oh ! ^"pj I could "j tell you — TTITi But, 71 let it *| be. TITTTTI Horatio, *| Report 71 me and my *"] cause 7TI aright Tf] To the *|un"] satisfied." Beside those peculiarities of pausing which are ap- propriate to personal characteristics, there are pauses which indicate certain dispositions of the mind, which are developed by situation and circumstances, rather than portrayed in general conduct, although distinctive and predominant traits of character. Among these dis- positions, are cautiousness, deliberation, timidity, hesita- tion, dissimulation, and craftiness. The speaker respec- tively develops these dispositions, by pausing to weigh the consequences of words or declarations, by pausing to weigh the meaning, by breaking the continuity of utter- ance, by stopping through partial conviction, by pausing to veil the meaning or to render it equivocal, and by pausing to insinuate what is neither declared nor concealed. The character of Loredano in Byron's Two Foscari, presents, if properly represented, a remarkable example PUNCTUATION. 149 of the employment of pauses which are associated with disposition of mind. The innuendoes, dark intimations, unfeeling allusions, callous replications, indirect accusa- tions, which abound in this character, are not expressed with the unequal waves, intervals of pitch, aspiration, guttural quality, and reduced falsette, which are used in the expression of similar sentiments in other characters. Loredano is not open in language or expression, yet he does not seek to conceal his thoughts. The expression which would render his meaning apparent, he does not employ, but uses rather that which obscurely intimates it. The partial imparture of his thoughts by the lan- guage, requires the expression to add meaning to every word. This is done, either by pauses which centre atten- tion upon an abruptly disconnected word, or the prolonga- tion of those pauses which mark the rhetorical subdivi- sions of a sentence. This prolongation individuates a subdivision, by apparently extracting it from the body of the sentence. And the prolonged pauses not only render words and phrases prominent, but afford opportu- nity for visible exposition. Although the expression of Loredano does not present an express image of his thoughts, it is unmistakeably suggestive. Every word is sent to the soul of his scenic auditor, not by startling utterance, but by what may not be improperly denominated vocal probing. This renders frequent pauses necessary to the conveyance of his entire meaning. This expression fills up the chasms in 13* 150 PUNCTUATION. the language, and preserves the connection of the sense. The dash in the following passages presents examples of the pauses which have been referred to : — Loredano, (to the Doge). "True, in my father's — time, I have heard him And the admiral his brother, — say as much. Your highness — may remember — them ; they both Died — suddenly." Doge. " What should I think of mortals ? " Loredano. " That they have mortal — foes." Loredano. "I never yet knew that a noble's life In Venice, had to dread a Doge's frown; That is by open — means." The principles of punctuation which have been un- folded, show that beside dividing language into its relative component parts, pauses may be employed in the mani- festation of personal characteristics of utterance, and the state and disposition of the mind: but even this does not embrace all the purposes of punctuation, as there are special ends attained by pausing, which have reference to the meaning of language solely; although the pauses are employed sometimes in the same manner as those used for elucidating mental disposition or action. Extension of volume, quantity, or pitch, in emphasis, may sometimes be so incompatible with the general tenor of the delivery, that it would destroy the character of the utterance; and when the expression is deliberate, PUNCTUATION. 151 particularization of words and phrases by individuation, is more effective of the end in view through emphasis, than vocal prominence. Antithesis under these circum- stances, should be developed by pauses, which, from the purpose of their employment, may be denominated Emphatic. EXAMPLES. Brutus. " Yea madam, for just then my foot did slip In the fresh blood of a new slaughtered victim, And, falling, I did kiss my mother — earth."* Othello. " Then must you speak Of one that loved, not wisely, but too — well." Adrastus. "Let them blast me — now." Occasionally a pause is employed, which adds to the meaning of the word or words with which it is associated, some particular contextural reference, or intimates more than is contained in the sentential import. This pause may be entitled Suggestive. EXAMPLES. Iago. " Nay but be wise, — yet we see — nothing done." This pause conveys an allusion to the demand of Othello for "ocular proof." Virginius. Out with it! I have — patience For anything, since my Virginia lives. Here Virginius alludes to the request of Lucius — " Hear me with patience." * Payne's Tragedy of Brutus. 152 PUNCTUATION. Most of the expressive pauses required in the repre- sentation of Loredano, are suggestive. That at "remem- ber," in the examples which have been given, intimates, — "Your highness may not only, simply remember them, but may have that recollection of them which arises from a consciousness of your conduct towards them." When the utterance is delayed for the manifestation of the mental state, or the delay arises from an action of the mind which does not check the utterance, or the delay is for calling the especial attention of the hearer to a word or phrase, the pause may be called Suspen- sive. The following are examples of this pause, which have no reference to the state of the speaker's mind. — Master Walter* " Yet one, I 'd like thee much to see, the bridal — chamber." Pescara. "And on his front in burning characters, Was written — vengeance." When the current of language is suddenly stopped by a change of thought, or by some external cause, the cessation may be styled an Interruptive pause. This pause occurs frequently in the pages of the drama. The following is an instance : — Ion. " If I should not return, bless Phocion for me. And for Clemanthe — may I speak one word, One parting word, with my fair playfellow?" * Hunchback. PUNCTUATION. 153 The emphatic, the suggestive, the suspensive, and the interruptive pause, are special in their application, ex- cept when the suspensive is a characteristic of the ex- pression of mental state. The characteristic and the pathognomical pauses, are more or less general in their application ; the sentensic * are universal. Personation requires the following pauses in the an- nexed passage from Lear ; as these pauses are not re- quired by the sentiment, they would be improper, if the language were assigned to many other characters. — O reason not the need; our basest — beggars Are in the poorest — thing superfluous. Allow not Nature, more — than Nature — needs, Man's life is cheap — as beast's. The following interrogatory from Falstaff's soliloquy on honor, must be punctuated as marked, to accord with the characteristic utterance. — " What need I be *] so forward ^ with him -j that calls not ""j on * This designation is applied to those pauses which are necessary to the general import of a sentence as determined by the context, or are employed in what is truly called "inexpressive" delivery. 154 EXPLANATORY OBSERVATIONS. CHAPTER IX. APPLICATION OF PRINCIPLES. SECTION I. Explanatory Observations. Having presented the basis of vocal expression, by the preceding elucidation of the vocal and the articulate elements, and of the principles of combination which govern their associative relations, and by the exposition of the instrumentality of syllabic, verbal, and sentential structure, in diversifying the characteristics of oral lan- guage, and of emphasis and punctuation in expression, — the application of what has been evolved to written lan- guage, will exemplify the principles which have been ad- duced, and develop the means for the oral exposition of the import of language. Every modification of which the voice is susceptible, may be illustrative of what is passing in the mind, or what pertains to character. The abstract consideration of each vocal constituent, necessary to the analytical process of its elucidation, must now be reversed in the synthetic view of its com- bined application in speech. To comprehend the amount of volume denoted by the EXPLANATOilY OBSERVATIONS. 155 terms of designation which may be employed, the degree of concrete pitch, form of stress and quality, must be considered : as what is large volume in one mode of quality or stress, is small volume in another. If large volume should be appropriated to both a simple slide and a loud concrete, the loud concrete necessarily employs larger amount than the simple slide, though relatively the same. If the words — '• It was you" — should be respectively pronounced with the simple slide, the loud concrete, and the thorough stress, and without any aug- mentation of volume beyond what the distinctive cha- racter of the forms of utterance essentially require, the amount of volume, though varying in each, would be denominated the same ; and if these words were respec- tively uttered with the pectoral, the colloquial, and the orotund quality, the same comparative force would pre- sent different degrees of volume. The absolute duration of quantity, depends upon the amount of volume, form of stress, degree of concrete pitch, as well as upon the sentiment ; for whatever may be the average extent of the quantity demanded by the sense, the aggregate consists of various degrees, but the average quantity is the expressive extent. Variation of quality or change from one quality to another, and diversification of the same quality, are greatly determinative of the absolute pitch of the current melody ; as the qualities of the voice vary, not only in extent, but in range of pitch. The widest compass of 156 EXPLANATORY OBSERVATIONS. pitch undoubtedly occurs in the orotund ; which, when highly cultivated and flexible, embraces generally from two to three octaves. The current pitch of this quality is, therefore, suscep- tible of the greatest variation. The compass of the pec- toral and the labial, is about a fifth. The guttural ranges generally a few degrees above an octave. The colloquial, through two octaves. In voices trained to orotund and guttural expression, the gravity and com- pleteness of vocalization imparted, limits the compass of the falsette and the aspiration ; though this training im- parts to the vocal organs power to execute the whisper and falsette with greater force.* Though the depth and sharpness of quality, are dis- tinct attributes from the gravity and acuteness of intona- tion, yet the greater the depth, the lower the range of pitch, except in the pectoral ; the pitch of which, is low in comparison with the guttural. Hence, the degree of acuteness which is high pitch in one quality, is necessa- rily low pitch in another. The confounding of pitch with quality, and with va- riation of depth in quality, has produced much confusion with regard to current pitch. When the pectoral qua- lity is employed in the expression of horror, the pitch is * In attempting" to carry the orotund beyond its compass, the sound is changed to a combination of nasality and falsette ; the gut- tural is changed to nasality ; the colloquial, as is well known, to fal- sette; the pectoral and the labial, to aspiration. EXPLANATORY OBSERVATIONS. 157 occasionally called low, when a high pectoral pitch is used. When great depth of orotund is employed, the pitch is frequently deemed low, when in a medium degree. Expression does not require absolute degrees of cur- rent pitch. This pitch may be almost any degree of acuteness or gravity when belonging to different voices, but must be in all, comparatively the same. When the pitch is designated as a relative degree of the compass of a particular quality, the positive pitch is as definite, as when a certain note above the lowest pitch of the speaker's voice is named ; as the pitch of the lowest note varies with the quality. A singular fact sometimes occurs in executing transi- tions of quality ; — a concrete interval may commence with one quality of voice, and pass into another which ranges in a different pitch. The same transition may occur in two successive syllables, whose radical pitch differs but a tone. This furnishes an apparently anta- gonistic or impossible consociation. The variations of pitch are accompanied with degrees of volume and other vocal modifications, that are, as has been stated, essen- tial to the expressive character. The conjunction of the adjuncts of one degree of pitch with another degree? is exemplified in the reduction of the falsette, or the ap- propriation of the shrillness or other properties of the highest degrees of the scale, to lower degrees. This transition is not confined to the properties of the falsette. By preserving the ordinary difference of pitch, between 14 158 EXPLANATORY OBSERVATIONS. syllables pronounced with different qualities, the ear is not shocked by violence in the transition. As the variation of one or two degrees in current melody, does not mar the expression, the division of the pitch of every mode of voice into lowest, very low, low, middle, high, very high, and highest pitch, affords desig- nations sufficiently definite. The various degrees of volume may be represented by the terms smallest, very small, small, average, large, very large, largest; and those of quantity, by the terms shortest, very short, short, medium, long, very long, longest. Variation of quality, as regards the guttural, the orotund, and the pectoral, may be denoted by the designations slightest, very slight, slight, medium, great, very great, greatest depth ; and as regards the colloquial, the labial, the nasal, and the falsette, by the designations slightest, very slight, slight, medium, great, very great, greatest sharpness.* Though these modifications of quality refer to but one form of diversification, yet other changes are dependent upon these, and accompany them. Expression is diversified by peculiarities of individual mind, by involution through expressive manifestation of character, thought, and passion, in combination, by the association of general and special expression, f and by * Vocal sharpness, in this treatise, does not denote what is com- monly called a piercing sound, but those properties which are anta- gonistic to depth. f General expression belongs to the import of language generally ; EXPLANATORY OBSERVATIONS. 159 the occasions of employment. The commixture of ide- ognomy,* pathognomy, and characteristic delineation, renders classification almost impracticable, as the generic characteristics are frequently merged into the special distinctions. The verb is generally deemed the primary word in a sentence, though this position is by some assigned to the noun ; the other words being considered primary and secondary adjuncts. Though the verb is grammatically the foundation of a sentence, the noun is the basis of the general idea. But the special purport may re- quire the prominence of an action, quality, mode, or re- lation, instead of an object ; as the picture presented in delivery must be conformable to the picture in the mind. From this fact, it is manifest, that distinguishing pro- perties of utterance, are indicative of mental character, and of the operations of the mental faculties. In con- versation, one or two analogous parts of speech, are generally more prominent than others. With some per- sons, verbs and participles are most conspicuous. This denotes a mind which more readily and distinctly cog- nises events and actions, than objects, relations, or qualities. With other persons, adjectives and adverbs are more prominently marked,, a manifestation of the priority of attributes and modes in the mind. When special, to the import of words. The latter is, generally, a specifi- cation of verbal import, through symbolical or imitative expression. * Ideognomy is the expression of ideas. 160 EXPLANATORY OBSERVATIONS. this prominence is assigned to nouns and pronouns, ob- jects are the chief points of attention. When self- esteem is a predominant trait of character, every inflec- tion or case of the first person of the pronoun, is asso- ciated with a marked utterance ; and when cautiousness characterizes an individual, syllabic dissection and long interverbal cessations are prevalent, &c. Shylock's exclamation — "How like a fawning- publican he looks!" may be varied in delivery by assigning three different purposes to the exclaimer. 1st. To assert a great degree of resemblance, by a direct wave of a third with median stress on "how"; 2d, — to declare positively a resem- blance, by loud concrete of a third with long quantity on "like"; and 3d, — to affirm a resemblance to a degraded object, (the actual purpose), by the downward slide of a fourth with median stress and long quantity on "fawn," radical stress on pub, and forcible and prolonged articu- lation of p. Shylock's hatred is prominently associated with the development of the sense of the language. This passion is not mere hate, but such as belongs especially to the mind of Shylock. Hatred associated with contempt for the religion of Antonio. Hatred arising from the con- sciousness of personal injuries. Hatred national, per- sonal, and religious ; long borne, deeply felt, but suppres- sed. Shylock's passion is a combination of malicious vin- EXPLANATORY OBSERVATIONS. 161 dictiveness and honest indignation, grief, anger, revenge, and prejudice. This complication of emotions, requires in delineation, less guttural asperity, a longer quantity, less transition in pitch, and less force, than mere hatred. The connection of personal habits of utterance with idiosyncracy and mental action, requires the dramatic personator to think with, as well as feel with character. The latter is a degree of dramatic excellence of compa- ratively easy attainment ; the former requires the highest intellectual capacity for identification ; as not only the appropriate ideas must be delineated, but the particular process of thought. The two great divisions of expression, the comic and the serious, are fundamentally distinguished by the ca- priciousness of the former, and the formality and regu- larity of the latter. " The rules to please the fancy," says Cibber, " cannot be so easily laid down, as those that ought to govern the judgment. The decency too, that must be observed in tragedy, reduces, by the manner of speaking it, one actor to be much more like another, than can or need be supposed to be in comedy : there the laws of action give them such free and almost unlimited liberties to play and wanton with Nature, that the voice, look, and gesture of a comedian, may be as various as the manner and faces of the whole of mankind." Aristotle defines the ridiculous, to be " something de- formed, and consisting of those smaller faults which are 14* 162 ADDITIONAL FORMS OF CONCRETE. neither painful nor pernicious, but unseeming: thus a face excites laughter, wherein there is deformity and distortion without pain." These citations show the boundless variety and cha- racter of the ludicrous ; and illustrate, by analogy, the distinctive nature of vocal ludicrousness : which may consist of any departure from the regular execution of the vocal elements, that is not offensive to the ear. Significative, symbolical, and imitative expression, pertain variously, to different forms of communication produced by subject and purpose. These three forms of expression are appropriate to oratorical delivery, the sig- nificative predominating, and the symbolical being pre- ferable to the imitative. Didactic delivery is confined to the symbolical, and the partially imitative ; though its deliberate character gives a precision to verbal spe- cifications, which apparently renders them strictly imi- tative. The imitative most frequently occurs in poetic delivery, and next in frequency, in dramatic. Symbolical expression, when illustrative of character in oratory and poetic recitation, verges on the characteristic. SECTION II. Additional Forms of the Concrete. In addition to the modes of vocal sound to which re- ference has been made, the following occur in audible communication : — ADDITIONAL FORMS OF CONCRETE. 163 The Protracted Radical of Speech. — A prolongation of the full body of the radical through half of the con- crete pitch, succeeded by a gradual diminution to the end. The Protracted Vanish of Speech. — A continued augmentation of volume unto the middle of the concrete pitch, and a protraction of the full volume at the middle unto the termination. The Protracted Median Stress. — A prolongation of a full and equal amount of volume through the central part of the slide or wave. The Unequal Median Stress. — An appropriation of a larger portion of the concrete progression to the di- minishing than to the augmenting volume, or the reverse. The Unfinished Concrete. — This is either a sudden interruption of the concrete progression, or a continua- tion, (without consummating the interval,) of the termi- nating portion on a line of pitch. In the former, both pitch and volume are incomplete ; in the latter, pitch only is incomplete. The former may be denominated the Abrupt Unfinished Concrete, the latter simply the Unfinished Concrete. There is a mode of concrete progression, in which the voice rises through a part of an interval, then descends through a less extent than that of the rise, and then ascends to the termination of the interval : and another mode, in which, after the initial rise, the voice continues on a line of pitch, and then consummates the interval by 164 SYNOPSIS OF NOTATION. an ascent. These progressions are reversed by the downward direction of the first, and the last movement. The designations, Waving Ascent and Waving Descent, may be respectively applied to the first of these modes of continuous sound, and its reverse. The designations, Rising Indirect Concrete and Falling Indirect Concrete, to the second mode and the reverse. These forms of utterance are of very unfrequent occur- rence.' They may sometimes be heard in insanity, child- ish sportiveness, and the doubt of forgetfulness. The following are the only examples occurring in this treatise : I '11 not be used so. — Insanity. n) in It is for you and me. — Childish Sportiveness. You are a — Venetian. — Doubt. Sometimes the force of the doubt leaves the interval incomplete. If remembrance flashes on the mind during the utterance of the syllable, the voice rapidly passes to the termination. SECTION III. Synopsis and Explanation of Notation. The following are the signs of various intervals and modes of pitch, forms of volume, &c, employed in the succeeding exemplifications. — SYNOPSIS OF NOTATION, 165 Upward. Downward. Slide of a Second /. Slide of a Second \. Slide of a Third 3 /. Slide of a Third 3 \. Slide of a Fourth 4 Slide of a Fourth . . . 4 \. Degrees of Radical Pitch ... \ \ / / A 1, 2, 3, 4, 5, / &C. 6, The radical pitch always refers to the distance be- tween consecutive syllables. But the figures under the slides, (represented above,) denote the relative position of each syllable, with regard to all occupying the same current melody, or a melody rising or descending from another without interruption. When a change occurs in current melody in the following examples, denoting a change in the absolute pitch of the relative degrees, it is marked by designating the relative degree of the com- pass of the quality. Numbers denote radical pitch when placed under signs of waves and stresses, as well as signs of slides ; and denote either tones or semitones, according to the cha- racter of the current melody. Direct Wave of a Second, , Direct Wave of a Third, , Direct Wave of a Sixth, , Double Direct Wave of a Second, \j> Continued Direct Wave of a Second, \J\T\> 5 ru- Upward Semitonic Slide, Upward Minor Third, Inverted Wave of a Second, u . Inverted Wave of a Fourth, i. Inverted Wave of a Seventh, J. Double Inverted Wave of a Fifth, Continued Inverted Wave of a Second, \j-\j. 2 Downward Semitonic Slide, \. Downward Minor Third, \. 166 SYNOPSIS OF NOTATION Upward Minor Fourth, Direct Semitonic Wave, Direct Wave of the Minor Third, Direct Double Semitonic Wave, 2 Ln- Downward Minor Fourth, \. Inverted Semitonic Wave, 5* Inverted Wave of Minor Fourth, i. Inverted Continued Semi- 2 tonic Wave, \j\). Direct Unequal Wave of Second and Third . . . Direct Unequal Wave of Semitone and Second Inverted Unequal Wave of Third and Fifth 3 j. 3 Inverted Wave of Semitone and Third 2J. 3 5 Direct Double Unequal Wave of Second, Third, and Fifth . . W\ Inverted Continued Unequal Wave of Second, Fourth, Sixth, and Seventh Unfinished Concrete. 467 Abrupt Unfinished Concrete zx &, These examples comprehend but a small part of the slides and waves, but they are sufficient to elucidate the notation. Loud Concrete A V. Radical Stress A V. Median Stress ^. Vanishing 1 Stress P \>. Thorough Stress #%. Compound Stress &%. Abrupt Concrete AW. Protracted Radical Stress, ^. Protracted Van. Stress. . . & &. Protracted Median Stress, Wave and Uneq'l Med. Stress Tremor of Wave ~^- When the radical of the simple slide is protracted, it is stated. Figures placed above these signs, denote the interval of concrete pitch, as well as those above other signs. The number placed on the right of the sign of the tremor, indicates the interval traversed by the tittles in their radical ascent and descent. "When the quantity of a syllable is longer than the general rate of move- ment and the form of the concrete demand, a line is placed under the syllable ; when shorter, the line is placed over it. The relative duration of pauses, is represented by the number of the vertical lines |'. The shorter line repre- senting half the time of the longer, and the shortest pause. Departures from general expression, are enclosed be- tween vertical lines, and designated by appended notes. SECTION IV. Exemplification. — Simple Communication. Colloquial quality, medium sharpness; small volume; middle pitch ; medium quantity. / / / \ \ / / / / / / •A 3 2 2 1 23 2234 "My name is Norval. I 1 On the Grampian hills' 3 2 / / / 2 3 3 My father feeds his flocks; | a frugal swain:" 168 EXEMPLIFICATION OP Interrogation. The quality, sharpness, volume, pitch, and quantity, are the same as in the foregoing example. 3 5 / / / / / / / / /■ / 3 3 4 4 244 313 11 Can you play the murder of Gonzaga I" Exclamation. Orotund quality, medium depth; very large volume: xery high pitch ; short quantity. 533 53 33335 t^\ \ t\ \ // / /. V 446 46 2344 2 11 Liberty ! | Freedom ! j> Tyranny is dead !" In the first of the following instances, the current melody gives to the language the expression of calm re- gret. This arises from the prevalence of the lowest point of the current pitch and the monotone. In the second, the tendency to rise to the highest point of cur- rent pitch, and the variation of radical pitch, impart levity. Though these examples illustrate the expressive offices of radical pitch, yet the same significancy does not at- tend all modes of executing the same current melody. The effects produced on the succeeding passages by di- versifying this melody, require its combination with the style of simple communication. s / / / / / / / / /■■/ 433 2211 1 122 " But I am very sorry, | good Horatio, |' / / / / / / / / \\ 2 2 211 112 21 That to Laertes, ' I forgot myself: ||' CHARACTERISTIC EXPRESSION. 169 '/ S / / / / ? / / / 33221 11 1 11 For by the image ' of ray cause, J I see 3 / / / / / \ 2 2 11 2 2 The portraiture I of his." /////// / / / / 122 1232 1 212 "But I am very sorry, | good Horatio, [ l / / / / / / / / \ \ 1 2 123 233 21 That to Laertes, ' I forgot myself; ||' 3 / / / / / / / / "/ / 12122 33 3 23 For by the image ' of my cause, | I see 3 / / / / / \ 2 12 3 2 3 The portraiture ' of his." In the representation of Hamlet, this passage requires orotund quality, low pitch, and long quantity, instead of colloquial quality, middle pitch, and medium quantity. This expression is partly demanded by the sentiment, and partly by the character. If it is associated with the former current melody, it makes the sentiment solemn ; if with the latter, it renders it in a slight de- gree, mock-serious. In the illustration of the funda- mental modes of communication, — simple declaration, interrogation, and exclamation, — the expression charac- teristic of the personages to whom the language belongs, is, of course, not regarded. Characteristic Expression. That part of expression which depends upon cha- racter, being diversified by the delineation of sentiment, 15 170 EXEMPLIFICATION OP ideas, and passion, and diversifying this delineation, its abstract properties can be ascertained, only by associat- ing them with simple communication, or by observing the difference in the utterance of similar ideas by different personages. But the actual import of language, being in a great degree dependent upon the nature of the mind of which it is an exposition, difference in characteristic expression, frequently denotes difference in apparently similar sentiments : but how far oral sound represents mental constitution, idiosyncracy, and physical state, cannot be accurately determined, while it refers to sen- timent or emotion, as well as to character. The passages which follow, have been selected from the characters to which they belong, because they can be viewed as simple declarations, not requiring special expression ; or if such expression is required, it is one with the characteristic. Idiosyncracy being regarded in the utterance of every word, the absolute properties of simple communication, when characteristic, must evidently vary ; but this does not militate against the form of delivery assigned to this communication ; as it is in all characters relatively the same. Though the colloquial voice in one, may resemble the guttural in another,* and high pitch in one, may be middle pitch in another, &c. * This apparently deprives the qualities of definite distinctions ; yet there is a standard of definite properties referred to in the sec- tion on Quality. The voice whose ordinary conversational sound is CHARACTERISTIC EXPRESSION. 171 The vocal designations accompanying the extracts here presented, conform to the requisites for a clear re- presentation of personal utterance. The conversational styles developed, arise mainly from the specified promi- nent traits of the dramatic personages. EXAMPLES. Cato. Thoughtfulness, solemnity, dispassion, and firmness. Orotund quality, greatest depth ; average volume ; low pitch ; com- paratively long medium quantity; prevalence of downward slide of a second ; interval of a third for emphasis — the median stress united with the concrete third ; long interverbal pauses ; frequent monotone. " Fathers, we once again are met in council. Csesar's approach has summoned us together, And Rome attends her fate from our resolves." guttural, possesses none of those distinctive attributes which discri- minate the real colloquial quality from all others ; yet there are oc- casions, when the sound attains a comparative exemption from gut- tural asperity and depth, and approaches towards the smoothness and sharpness required by the colloquial standard. The epithet colloquial may therefore be employed to designate this modification of. this voice. But in the examples of characteristic expression, the quality assigned has reference to the properties of voice in the abstract, and not to the divisions of individual voice. In females, the guttural does not generally reach the depth of the orotund. It is designated accordingly. Least colloquial sharpness represents the female orotund, &c. Quality is the only vocal element which is referred in exemplifi- cation to an absolute standard. The others have a relative reference. 172 EXEMPLIFICATION OF Othello. Openness, courage, impulsiveness, affection, and rude dignity. Orotund approximating to the guttural, least vibration ; large vo- lume; middle pitch; medium quantity; prevalent upward slide of a second ; alternation of radical pitch ; intervals of a third, occasional median stress on the wave and simple concrete, for emphasis. " That I have ta'en away this old man's daughter, It is most true ; — true, I have married her." Lest the difference in the vocal properties assigned to Cato and Othello, should be attributed to the difference of reference in the language of the two characters, the one referring to a great public, the other to a private occurrence — the dramatic delivery of the following words of Cato to Juba, and of Othello to Montano, is presented as a demonstration of the propriety of the characteristic delivery appropriated to each : — \ Cato. "Adieu, young prince : I would not hear a word Should lessen thee in my esteem." Othello. " Worthy Montano, you were wont to be civil ; The gravity and stillness of your youth, The world has noted, and your name is great In mouths of wisest censure." The sentiment in both instances is partly condemna- tory, and partly approbatory. The association of the combined expression of these mental actions with the assigned characteristic utterances, constitutes the proper general expression of these passages. CHARACTERISTIC EXPRESSION. 173 Iago. Duplicity, deliberation, malice, craftiness, and callousness. Colloquial quality, least sharpness ; small volume ; low pitch ; long quantity; occasional slight aspiration;* upward slide of a second almost universal, as sentences and clauses forming complete sense oc- casionally terminate with it; comparatively long pauses; emphasis with discrete pitch of a third, or slight augmentation of volume., " Montano and myself being in speech, There comes a fellow crying out for help." EXAMPLE CONTAINING ASPIRATION. "Dangerous conceits are in their natures, poison." Desdemoxa. Gentleness, innocence, confidence, and seriousness. Colloquial quality, great sharpness ; small volume ; low pitch ; me- dium quantity ; occasional semitone, monotone, and downward slide ; j" emphasis with slide of a third and discrete third. " I am not merry ; but I do beguile The thing I am by seeming otherwise." * In speaking to a person at a distance, with the intention to pre- vent the overhearing of others, the effort to hide the sound, aspirates the voice : the mental reservation which marks duplicity, leads to an unintentional endeavor to conceal even the utterance of thought : this concealment, from analogy to the vocal suppression, is evidently associated with slight aspiration. f When, in the illustration of characteristic expression, the degree of concrete pitch is not designated, it is the interval of a second. When the constituents of the current melody are not named, they are generally upward slides of a second. When the mode of em- phasis is not presented, it is diversified. 15* 174 EXEMPLIFICATION OF Seriousness is not deemed a general phase of Desde- mona's mind from the language quoted, but from the impression which circumstances must evidently make. Thoughts of her father's displeasure, must frequently cross her mind, though she refers to him but once. — " If you have lost him, Why I have lost him too." The uncertainties of her situation, an indistinct fore- boding of her fate, cast a shadow over the joyousness of youth: the words — " Good Father ! how foolish are our minds ! If I do die before thee, (to Emelia), pr'y thee shroud me In one of those same sheets, — "* are but the assuming of a definite form, by the indistinct shade which flitted before her mind. Emelia. Vehemence of temper, energy of will, moral lightness. Colloquial quality, medium sharpness ; large volume ; middle pitch ; short quantity; emphasis with radical stress. " But jealous souls will not be answered so. They are not jealous for the cause, But jealous for — they 're jealous." Rodkrigo. Silliness, baseness, and credulousness. Colloquial quality, very great sharpness ; small volume ; high pitch; long quantity; prevalence of upward, but frequent downward slide. * Neither of these passages is in the acting copy. CHARACTERISTIC EXPRESSION. 175 " I think I can discover him, if you please To get good guard and go along with me." PoLONIUS. "A prating, pedantic, busy, obsequious statesman ; a fool with a dash of the knave." * Age, self -confidence, dogmaticalness. Colloquial quality, greatest sharpness; small volume; very high pitch ; short quantity; prevalence of median stress f and downward slide; the median stress frequently on the downward concrete; em- phasis generally with discrete third, occasionally, with thorough stress of this interval. "And then I precepts gave her, That she should lock herself from his resort, Admit no messengers, receive no tokens." Ghost of Hamlet's Father. Awf ulness ; anger, jealousy, suffering, and revenge, suppressed ; the natural vigor of their manifestation being subdued by super- natural horrors. Guttural quality, combined with the pectoral; small volume; low pitch ; long quantity; prevalent monotone ; emphasis with slight aug- mentation of volume ; cadence with a falling tone or ditone. " Sleeping within mine orchard, My custom always of the afternoon, Upon my secure hour thy uncle stole, With juice of cursed hebenon in a phial, And in the porches of mine ear did pour The leperous distilment. * Davies. Life of Garrick. f The prevalence of other forms of the concrete than the upward or the downward slide, refers generally to the accented syllables. 176 EXEMPLIFICATION OF The investing of the delineation of this character with the gloom of the grave, leads to the exclusion of every degree of impassioned expression. Tieck observes, that " there should be anger in the words, and vehemence in the gestures," and censures the monotony common in the representation of the part, as the ghost has the human passions — anger, jealousy, desire of revenge, &c. This manner of delineation is as extravagant, as the monotonous is tedious : the part occasionally admits of variation of the general pitch, volume, and quantity, but not to a great extent. First Grave-Digger. Clownish disputatiousness and rudeness. Combination of the orotund and the colloquial quality; large vo- lume; middle pitch; long quantity; prevalence of downward pro- tracted radical and protracted median stress ; emphasis with intervals of a third; long interverbal,and sentensic pauses. "I'll put a question to thee ; if thou answerest Not to the purpose, confess thyself — " Queen Gertrude. Serenity, dignity, and mildness. Colloquial quality, slightest sharpness; average volume; low pitch ; long quantity; occasional monotone and median stress. "Good gentlemen, he hath much talked of you; And sure I am, two men there are not living, To whom he more adheres." CHARACTERISTIC EXPRESSION. 177 Ophelia. Piety, harmlessness, filial and sisterly affection. Colloquial quality, slight sharpness; small volume; middle pitch: medium quantity ; upward slides interspersed with semitones; em- phasis with intervals of a third. ' My lord, I have remembrances of yours, That I have longed long to re-deliver." Calibau. Brutishness ; an almost purely earthy nature ; grovelling propen- sities, but not human vulgarity. Guttural quality, greatest depth ; large volume ; middle pitch ; medium quantity ; abrupt concrete* prevalent in the current melody, and on a concrete third in emphasis. " Then I lov'd thee ; And show'd thee all the qualities o' the isle, — The fresh springs, brine pits, barren place and fertile." Ariel. " Thou which art but air." Colloquial quality, greatest sharpness ; small volume ; low pitch ; medium quantity; occasional monotone and median stress; slight variation of pitch and volume for the purpose of imparting the greatest melodiousness. " I boarded the king's ship ; now on the beak, Now in the waist, the deck, in every cabin, I flam'd amazement." # This form of volume, being in the section on Volume appro- priated to the expression of vulgarity, may be deemed incompatible with Caliban ; but this expressiveness is not associated with the abrupt concrete when the quality is the deepest guttural ; though it may be, if the sound is but slightly guttural. 178 EXEMPLIFICATION OF Miranda. Mental cultivation without worldly experience, imaginativeness and natural simplicity. Colloquial quality, very great sharpness ; small volume ; middle pitch ; medium quantity ; prevalence of downward slide and down- ward median stress. "'T is far off, And rather like a dream, than an assurance That my remembrance warrants." Lord Ogleby.* Vanity, self-conceit, kindness, refinement, superannuated gallantry, and stimulated vivacity. Colloquial quality, slight sharpness ; average volume ; pitch varied, being high and low; medium quantity; on the radical part of many of the slides, the quantity is longer than on the vanishing part. " She has a passion, a most tender passion. She has opened her whole soul to me, and I know where her affections are placed." Mr. Sterling. Arrogance, selfishness, purse-pride, vulgarity, low pretensions. Guttural quality, least depth, least vibration; large volume; high pitch; medium quantity; prevalence of abrupt concrete. " Mind now, how I'll entertain his lordship and Sir John. We'll show your fellows at the other end of the town how we live in the city. — They shall eat gold, — and drink gold, — and lie in gold. What signifies your birth, and education, and titles'? Money, money! that' s the stuff that makes the great man in this country." # Clandestine Marriage. CHARACTERISTIC EXPRESSION. 179 Mrs. Heidelberg. Ignorance, assumption of gentility, vulgar imperiousness. Colloquial quality, slightest sharpness ; large volume ; high pitch ; short quantity; prevalent downward slide; emphasis with radical stress. " I' 11 let them see that we can act with vigur on our part ; and the sending her out of the way, shall be the purluminary step to all the rest of my purceedings." Master Walter. Sedateness, probity, paternal affection. Orotund quality, very great depth ; average volume ; middle pitch j long quantity; frequent downward slide. "Julia, A promise made, admits not of release, Save by consent or forfeiture of those Who hold it." Julia, (in the country). Youthfulness, contentment, maidenly sprighlliness. Colloquial quality, medium sharpness; small volume; middle pitch ; medium quantity. " F m wedded to a country life." Julia, (in the city). Ostentation, love of admiration, fashionable gayety. Colloquial quality, slight sharpness ; comparatively large average volume; middle pitch; comparatively long medium quantity; fre- quent median stress. " When he makes A lady of me, doubtless must expect To see me play the part of one." 180 EXEMPLIFICATION OF Huon\* Submissiveness, native exaltation of mind and character obscured by a degrading social position, suppressed love. Orotund quality, least depth; small volume; low pitch ; medium quantity ; emphasis with intervals of a third.-j- " The peasant, tho' of humble stock, High nature did ennoble." Countess. Love struggling with scorn and pride, stateliness, self-command. Colloquial quality, slightest sharpness; large volume; low pitch ; medium quantity; interspersion of downward slide, median and radical stress. " I would not think thee so presumptuous, As through thy pride, to misinterpret me." Cassius. Asperity, impetuousness, haughtiness, and inflexibleness. Guttural quality, medium depth; large volume; middle pitch; frequent radical stress; emphasis with great augmentation of volume, and with radical pitch. " I was born free as Cassar." Richelieu. Age, debility, wiliness, irritability, self-reliance, quickness of per- ception, brilliancy of conception, and warmth of affection. Colloquial quality, greatest sharpness, approximating to the proper- ties of the falsette ; average volume; low and middle pitch; long quantity ; frequent radical and median stress, and downward slide ; occasional vanishing stress ; long intersyllabic, interverbal, and sen- tensic pauses. * Love. f This expression is not characteristic of Huon when "favorite of the empress," CHARACTERISTIC EXPRESSION. 181 " Beneath the rule of men entirely great, The pen is mightier than the sword." Adrastus. Grandeur, defiance, recklessness, and hopelessness. Orotund quality, medium depth; large volume; low pitch; compa- ratively long medium quantity ; emphasis with median stress. " Your king attends, to know your pleasure." Mr. Solomox.* Pompousness and inquisitiveness. A busy-body. Colloquial quality, least sharpness; very large volume; high pitch; comparatively long medium quantity; emphasis with slide of a third and very long quantity. " But what is to be expected from one who has no foreign corre- spondence." Lady Macbeth. Ambition, mental and physical energy, resolute determination. Orotund quality, least depth ; average volume; middle pitch; com- paratively short medium quantity, frequent median stress and down- ward slide. " You shall put This night's great business into my dispatch." Catharine, -j- Petulance, vexatiousness, dissatisfaction, and impatience. Colloquial quality, great sharpness; average volume ; high pitch; short quantity; frequent vanishing stress. " My duty, sir, hath followed your command." * The Stranger. f The Taming of the Shrew. 16 182 EXEMPLIFICATION OF Ideognomy. Embraces symbols, images, and those signs which are significant of ideas, but not of passion nor determination of the will. Significative Expression. "Their softest touch, as smart as lizards' stings; Their music, frightful as the serpent's hiss; And boding screech-owls make the concert full ; All the foul terrors of dark-seated hell." Colloquial quality, medium sharpness, slight aspiration ; large volume, middle pitch, shortest quantity. 6 Orotund quality, least depth, slight aspiration; small volume, middle pitch, long quantity. c Orotund quality, greatest depth ; small volume, low pitch, long quantity. d Guttural quality, medium and increasing depth, aspiration ; ave- rage volume, middle pitch, long quantity. e Guttural quality combined with the pectoral, average volume, middle pitch, long quantity. Symbolical Expression. "Here lay Duncan, «A b P His silver skin laced with his golden blood ; <=A d A •% And his gashed stabs looked like a breach in Nature For ruin's wasteful entrance." « Colloquial quality, very great sharpness, increasing on the con- crete progression; small volume, middle pitch, very long quantity. IDEOGNOMY. 183 b Colloquial quality, slightest sharpness; large volume, middle pitch, long quantity. candd Orotund quality, least depth; very large volume, high pitch, very short quantity. * Orotund quality, medium depth, slight aspiration ; average volume, high pitch, short quantity. Imitative Expression. " Each new morn, 3 2 2 New widows howl, new orphans cry; new sorrows Strike Heaven on the face, that it resounds, As if it felt with Scotland, and yelled out 2 2 Like syllables of dolour." * " Colloquial quality, medium and decreasing sharpness ; large vo- lume, middle pitch, very long quantity. 5 Colloquial quality, great sharpness; small volume, middle pitch, medium quantity. c Orotund quality, medium depth; average volume, low pitch, long quantity, monotone. 4 3 34 4 5 1345 4* Richmond, | I say come forth, | and singly > face me." | |||| Protraction on a line of pitch, of the subtonic vocality which pre- cedes the tonic in the accented syllable. * High pitch, short quantity. * The intonation demanded by this notation, must occasionally require the voice to approximate to the orotund. DRAMATIC EXPRESSION. 193 Vocal Exhaustion. Guttural quality, medium depth, aspiration; small volume; low- pitch ; short quantity ; complete expiration at each pause. 3 2 Richard is hoarse ||' with daring 1 thee |' to arms." / / / / / / / \ 3 1 2 3 2 1 2 1 Cato contemplating the Imsiortalitt of the Soul. Grandeur, Solemnity, and Triumph. Orotund quality, greatest depth ; volume, at first, small, but increases with the elevation of pitch ; pitch commences very low, but varies as specified ; quantity absolutely, but not relatively, the same : conse- qnently, the voice approaches to explosiveness on the last line ; on the first, the quantity is very long. / / / S\ 2 2 2 12 1 The stars I shall fade away, 1 1 1 / / / V >4 5 5 4 the sun himself I / / / / \ \ / / ^V 32 22 343 321" Grow dim with age, |' and nature I sink I in years; / . / ////// 61 2 2 3333 34 4' But thou | shalt flourish in immortal youth, 3 \\ / / / / / A / / 12 33 2 34433 Unhurt | amidst the war of elements, / v \ / / 12 3 2 12' The wreck of matter; • / v ■ / \ 2 3 12 1 and the crush I of worlds." a Low pitch. c High pitch. 6 Middle pitch. d Very high pitch. High pitch. Pescara declaring his Hostility to the Marriage op Florinba with Hemeta. Surprise, Abhorrence, Scorn, and Rage. Guttural quality, greatest depth, occasional aspiration ; very large volume ; high pitch ; short quantity on the first and the third line, medium on the second. 17 194 EXEMPLIFICATION OF 5 i A / / / 3j 15 5 5 1 "What, || you choose a Moor, 5 5 \ V \ V \ \ W\\ 2 64 6 78 98 77 To swell the stream of your nobility, | 4 6 / / \ t\\ *\ 5 7 3 4 2 1 With his polluted ' blood 1" OSRICK RELATING TO HAMLET THE King's WAGER. Effeminacy, Vanity, and Affectation. Colloquial quality approximating to the labial, very great sharp- ness; average volume; low pitch; long quantity. / / / /•/ / / / ////// \ 4 23 232 2 1 2323222 " Three ' of the carriages, | in faith, ' are very dear to fancy, | //./// / / \ / \ / / / / / / / 22332 23 2 2 233 2 23 3 3 very responsive to the hilts, | most delicate ' carriages, |' and of / / /// \ \ 2 3 2 3 3 2 1 very liberal ' conceit." * Launcelot Gobbo deliberating on the Propriety of LEAVING ShXLOCK. Clownish Pertness, Sportfulness, and Self-esteem. Colloquial quality, least sharpness; average volume; high pitch; long quantity; a slight protraction of the radical of every slide. a /<& / q v /' / / / / / / 234233 32 3223 2 "Certainly, • my conscience | will serve me, | to run from this / / ^ \ 2 3 2 1 Jew, I my master." * This and the succeeding example refer to Characteristic Ex- pression mainly. DRAMATIC EXPRESSION. 195 / / / / ^ / ^ \ \ \ \ 322 3 3 2 1 2323 "My conscience says, — No; | take heed I honest Launcelot, [I / / / '/ / / / /Q / / / / 2 3 22 3212212 12 1 2 take heed ' honest Gobbo, | or, ' as aforesaid, I honest Launcelot 3 / / / ^ y ra / / / / \ 33432 1 23 32 1 Gobbo I do not run, [| scorn | running 1 with thy heels." General and Special Expression. (index notation.) Queen Constance to the Arch-duke of Austria. Abhorrence and Derision. Colloquial quality, greatest sharpness, aspiration; very large volume; very high pitch ; quantity, very short, except on the prominent words, where it is long ; long interverbal pauses. 3 4 V 6 / \ / *4 / \ "Thou slave! ji thou wretch! j 1 thou coward! || 3 V 3 4 V Thou little I valiant! | great in villany! |jj / 6 2 \ Thou ever strong upon the stronger ' side! |ji 4 / V 2 Thou Fortune's ' champion ! | that dost never fight, I / 4 2 ^ But when her humorous ladyship is by, | 3 V To teach thee ' safety !" * In index notation, and the notation of special expression, the number representing radical pitch, denotes, when the radical pitch of the preceding syllable is not specified, the interval, and not the relative place of the syllable in the current pitch. If a dot (.) is placed under the figure, it signifies radical descent. 196 EXEMPLIFICATION OF Macduff to Rosse. Grief choking Utterance. Orotund quality, great depth, aspiration ; small volume j high pitch ; medium quantity ; very long interverbal pauses. 2 2 ,2* A A ///a "My children tool" Cassius scoffing at Octavius and Antony. Guttural quality, least depth ; large volume ; middle pitch ; short quantity. 4 4 3 4> <& \ \ "A peevish ' school-boy, | worthless of such honor, || 4 3 Joined with a masker ' and a reveller." Hamlet to the Ghost of his Father. Amazement and Terror. Pectoral quality, least depth, aspiration ; largest volume ; middle pitch; very long quantity; frequent median stress, prevalent down- ward slide of a second. " Be thou a spirit of health, or goblin damned, Bring with thee airs from heaven or blasts from hell, Be thy intents wicked or charitable, — Thou com'st in such a questionable shape, That I will speak to thee." Richard III. on awakening from his Dream. Terror. Pectoral quality, great depth, predominant aspiration; large volume ;+ * Radical ascent of a second. f This denotes an amount of volume which is large for predomi- nant aspiration, which greatly diminishes volume. DRAMATIC EXPRESSION. 197 low pitch; varied quantity; prevalent monotone* tremor of a second, upward tittles. " 'T was but a dream ; But then so terrible, it shakes my soul ; Cold drops of sweat hang on my trembling- flesh, My blood grows chilly, and I freeze with horror." The rising consciousness of his situation, prompts re- flection in Richard, and gradually mingles the sensation of awe with that of terror. This causes the pitch to descend. Cardinal Beaufort ox the Eve of his Death. Despair, Remorse, and Physical Suffering. Pectoral quality, various degrees of aspiration, from slight to almost total; reduced falsette, guttural modifications: varied amount of the volumes of both qualities; varied pitch; quantity generally long; complete expiration at many of the pauses ; sudden radical emission without great force. / ^ / / \ "Bring me j to my trial, |j| when you will! ||| 3 n / / / 2 3 4 5 / Died he not || in his bed? | where should he j die! ||||| Can I make || men live | whether they will | or no? |||[|] Oh ! torture me no more ! | I will | confess. 3 3 / / / / 2 3 4 4 Alive again? [| then show me where he is; || \ \ \ \ 1' 11 give a thousand pounds ' to look upon him." * This designation is applied to the tremor, when the radical pitch of the tittles is unvaried. 17* 198 EXEMPLIFICATION OE - ■ Colloquial quality, greatest sharpness, small volume, lowest pitch, protraction on a line of pitch. The parts underscored, except "bring," may be uttered with the reduced falsette ; the rest of the passage, with the pectoral. Henry VI. at the Death-bed of Cardinal Beaufort. Pathetic Devotional Entreaty. Colloquial quality, least sharpness; average volume; pitch com- mences very low and rises to low ; long quantity ; semitone through- out, frequent median stress. 2 2 2 2 a p \ " O | thou eternal Mover ' of the heavens ! || Look with a gentle eye upon this wretch, 2 2 Oh ! | beat away | the busy meddling fiend, ' That lays strong siege upon this wretch's soul, 2 And from his bosom ' purge | the black despair!" Richard III. wooing Lady Anne. Hypocritical Pathos. Guttural quality approximating to the orotund, least asperity; small volume ; low pitch ; long quantity ; concrete semitone throughout, but with radical pitch of a second; occasional rising tri-semitone. " Oh ! teach not thy soft lips such cold contempt. If thy relentless heart cannot forgive, Lo ! here I lend thee this sharp-pointed sword, Which, if thou please to hide in this true breast, And let the honest soul out that adores thee, I lay it naked to the deadly stroke." DRAMATIC EXPRESSION. 199 Shylock rejoicing over the Prospect of Revenge ox Antonio. Rancour, Savage Rapture, and Sanguinary Purpose. Guttural quality, greatest depth; largest volume ; very high pitch; long quantity. 8 8 / / s ifh 5 ? [f/ z " I am very glad of it ! || I '11 plague him ! | I '11 torture 3 //?a him! ///3 HI I am glad of it!" Othello repulsing Desdemona. Reproof, Grief, and Love. Orotund quality, medium depth; small volume; low pitch; long quantity. 2 2 2 2 " O, Desdemona ! | away ! || away ! away ! a Very low pitch. Lear's Confusion in Regard to the Intelligence communi- cated BY GlOSTER, THAT CORNWALL AND ReGAN ARE NOT TO BE SEEN. Senility, Irascibility, Author itativeness, Paternal Affection, Doubt, Perplexity, Amazement, Anger, Vexation, Forgiveness.^ Colloquial quality, occasionally passing concretely into the falsette, *"Kean's utterance of one line — ' O, Desdemona! away — away — away, — ' was surely never surpassed. It had in it all that belongs to love, to grief, to pity. The very Spirit of love, weeping its injuries, and not more than half reproachful, seemed to hover over him. His words sunk, by gentle gradations, from reproof into compassion, from compassion into a faint, tender, and indistinct sound, which itself gradually expired, like the sound of a melan- choly echo." — Barry Cornwall's Life of Kean. f The last eight affections are portrayed in succession. 200 EXEMPLIFICATION OF greatest sharpness; small volume; varied pitch; long quantity; the energy of utterance and intensity of emotion, moulding the tremor of age into a single concrete in the whole passage, except the last line. 5 \ § \ V \ V \ "The king I 1 would speak ' with Cornwall; ||' 5 2 2 2 2 t\ / / / / / a \ 5 The dear father | would with his daughter, | speak, | commands ' her service; |' 3 5 5 5 ■ / A A / 5 5 5 \ \ 5 5 My breath I and blood ! | Are ' they | informed I of this? 3// 3 3 A2 3 t> P> A A A / Fiery?— | the fiery I duke? || Tell the hot duke, that— |' 2 2 2 \ til* / / in* No, — | but not ' yet, — || may be ' he is not ' well." 8 Aspirated colloquial quality. Cromwell's Grief on the Downfall of Wolsey. Orotund quality, least depth; small volume; middle pitch; long quantity ; short interverbal, and sentensic pauses. " O, my lord, | 2.2 3 A 4 / , 2 / 3f / 2 / 2 Must I I then leave you ? || must I needs forego | 2 / 2 So good, ' so noble, ' and so true | a master ?" Macbeth to the Ghost of Bajtq.uo. Maddened Rage, the Courage of Despair, and the Mandate of Horror. Combination of orotund and guttural quality and aspiration ; largest volume ; middle pitch ; shortest quantity. * Radical ascent of a semitone. t Radical pitch of a minor third. DRAMATIC EXPRESSION. 201 3 3 3 5 V V \ V v v / 10 \ 8 5 9 84 "Avaunt ! | and quit ' my sight ! || Let the earth ' hide thee !" Hamlet to Guildenstern aud Rosen crastz. Irritation and Surprise. Orotund quality, very slight depth ; average volume ; middle pitch ; short quantity. 5 5 5 3 "Do you think I am easier to be played on than a pipe?" Merctttio describing Mab. Glee and Fancifulness , Colloquial quality, great sharpness, increasing on the concretes ; average volume; high pitch; short quantity; shortest intersyllabic, and interverbal pauses; great diversity of radical pitch of a second, prevalent upward slide. "And in this state I she gallops, night by night, 1 Through lovers' brains, | and then they dream of love, |' O'er 1 \b lawyers' I fingers, ' who straight dream on ' | fees, | _ O'er ladies' lips, | who straight on ' kisses ' dream." a and b L east sharpness. Gratiano deriding Shtlock. Exultation and Mockery. Colloquial quality, medium sharpness; average volume; very high pitch ; short quantity. ft I 3 Oh! | learned ' judge! I 1 Mark! Jew, — | a learned ' judge! Yta 3 ~ ///> V . \ . \\V 202 EXEMPLIFICATION OF Cassio intoxicated. Colloquial quality, varying from the least to the greatest sharpness ; average volume;* pitch extending from low to highest; quantity greatly diversified ; long intersyllabie pauses, interverbal, very long and very short; great protraction of some literal elements. / 4 / 11 'Fore Heaven, | this is a more • exquisite song! I than the other!" Timothx Quaint to Mrs. Fidget. Quiet Humor and Droll Sarcasm. Colloquial quality, least sharpness; small volume; middle pitch; comparatively long medium quantity; frequent monotone phrase, with varied current pitch; thorough stress prevalent on accented syllables. " No ; it doesn't follow, it generally goes before ; you retail your knowledge every week-day, in small paragraphs, and on Sunday, you rush forth yourself, fresh from the press, — a walking journal of weekly communication." Beatrice speaking of Benedick. Wit, Mirthfulness, Liveliness, and Ridicule. Colloquial quality, very great sharpness, increasing on the concretes; average volume; high pitch; medium quantity. til* JL ^- . til* . *V_ , " In our last conflict, ' four of his five wits I went halting off, | _£- ///a . -n. and now ' is the whole man • governed with one: |' so that ' if he ffji ^ fill /fa . have wit enough to keep himself warm, I let him bear it for a difference ' between himself and his horse; for it is all the wit 3 III* -¥- that he hath left, ' to be known as a reasonable creature." * The volume should be the same in all diversities of the concrete. ORATORICAL EXPRESSION 203 Falstaff lauding Sack. Corpulence, Sensuality, and Jocularity. Guttural quality, medium depth, least vibration, slight aspiration; very large volume ; middle pitch ; medium quantity: very long inter- verbal, and sentensic pauses. "The second property || of your excellent sherris warming of the blood." is the Oratorical ^Expression. (complete notation.) Magnificence of Illustrative Imagery, shaded with MoURNFULNESS. Orotund quality, great depth; large volume; middle pitch; long quantity. 5 4 w / 4 3 / /\ \ \ 2 2 3 2 1 "So the great ocean, | comes on ' imperceptibly. ||| Men build S /. / /■ S. / 5J s s /, / /■ s. / oj A / 4 322323 3 44 their huts at the foot of some huge mountain, I 1 and till ' the / \ 2 3 / / / / // \ 3 2 2 3 2 3 4 fields that spread out before them, — [I thinking | nothing 2 3 A / 6 2 1 / \ \ \ 2 3 2 1 so permanent. / / / / \I / / / / / : 3 2 2 2 12 2 2 3 2 But, by and by, | other men ' come that way, I 2 1 and the i 2 * green 2 12 2222 12 fields are gone. || The summer fruit ' has long 2 2 / S \ \ 2 2 2 1 since ' been gathered. / / / / / / / 2 2 2 3 3 4 Where the husbandman I found his / / / / \ / / \ / / / / 4 3 3 3 2 3 2 1 2 3 4 3 wealth, | the fisher | draws his support; || where the sickles ' 204 EXEMPLIFICATION OF \ / / 2 1/ whispered / / V / & 2 3 2 2 2 to the bending corn, | the ships of / / 2 2 t 1 i war / U7/ 2 3 2 go sheeting \ / "122 33 223 212 1 I and the old mountain ' has become a grey and wave- / / 2 3 \ 1 < by: / / t\ / / / //.'// / // / / / / 23 1 33 2 3245 433 2345 beaten crag, | a landmark to the distant mariner, | and a turret ' / / / / t\ 4 3 3 2 1 a where the sea-bird screams." 8 """Least depth. 4 Small volume. c Small volume, low pitch. " Medium depth, medium quantity. f Aspirated orotund. e Greatest depth. * Medium depth, very large volume, high pitch, medium quantity. Earnestness, Indignation, and Exculpation. Orotund quality, least depth; very large volume; high pitch; short quantity. / /> / / / \\ / \ \ / /> / X / // 2 344 2 2234 323232 34 "That principle | which neither the rudeness of ignorance can stifle, | 3 //■WW / /'> / /\ \ / V\\ 232343323 3 23 2 4 555 nor the enervation of refinement ' extinguish; — || that principle |l 3 3 / / /V//\//>/ / // / v 2 3 31233243 2 32 34 which makes it base for a man to suffer ' when he ought to act, — |' 3 / // / / ^ // // ///// //// 2 34 3 32 23 23 32344 3434 which I tending to preserve to the species the original designations 3 / V/ / *-" / / \ \ \ / / / / /> / 3 233 1 23233 344 3 5 3 of Providence, | spurns ' at the arrogant distinctions of man, | and 5 V\\ /■//// / // / / \ 234 55445 43323 2 vindicates ' the independent quality of his race." ORATORICAL EXPRESSION. 205 General and Special Expression. (index notation.) CoNQJTESTS OF BoKAPARTE. Declamatory Style. — Vivid Narration. Orotund quality, medium depth; large volume; high pitch; short quantity; prevalence of upward radical stress; emphasis with discrete fifth and concrete third ; designation by discrete third. "Like the barbarians, ' he conquered Italy ; || and, rolling back to its source, ' the deluge that overwhelmed Rome, I he proved him- self the Attila of the South. ||| With Hannibal, ' he crossed the Alps in triumph. | Africa ' beheld him a second Scipio; |' and, standing on the pyramids of Egypt, ' he looked down on the fame of Alexander." Indiax ExoatrEiN-cE. — Frox a Speech by Farmer's Brother. Description. — Force and Grandeur. Orotund quality, great depth; large volume; middle and low pitch ; comparatively long medium quantity ; prevalent median stress, occasional monotone ; emphasis with concrete third. " This contest threw the inhabitants of the whole island into a great tumult and commotion ; like a raging whirlwind, which tears up the trees, and tosses to and fro the leaves, so that no one knows whence they come, or when they will fall." Character of Bonaparte. Acknowledgment of Mental Eminence and Great Actions. Wonder mingled with Aversion. Prominent Anaphora. Orotund quality approximating to the guttural ; large volume ; middle pitch ; medium quantity. 18 206 EXEMPLIFICATION OF 3 / / / / \ 3 A 21233 A. / "Great |' he unquestionably was; — ||| great | in the resources V / -\ \ A 2 2 3 4 3 / / of a misguided spirit, — || great | in the conception and execution 3 of evil, — I 1 ■ A _V / A great ' in mischief, ' like the pestilence, — | great. ' in 3 V \ . desolation, ' like the whirlwind." Aspiration combined with the orotund. Apostrophe from a Sermon" of Robert Hall. Reverence, Congratulation, Joyous Confidence, Solemn Annun- ciation, Admiration. The last four in succession. Orotund quality, great depth; average volume; high pitch; long quantity ; occasional monotone. 3 / \ / "Enjoy | that repose, | illustrious immortals! || Your mantles 3 \ \ / fell, | when you ascended ; || and thousands, | inflamed with your / , . - . / . ^ spirit, I and impatient to tread in your steps, | are ready to swear [' by "Him that sitteth on the throne ' and liveth for ever andever,| a i 3 A . \ ^ that they will ' protect | Freedom in her last asylum, |' and never 3 3 desert that cause, | which you sustained by your labors, | and 3 / \ cemented with your blood !" " Prevalent monotone. ORATORICAL EXPRESSION. 207 The Determination of Hyder An. — Burke. Awe, Gloom, Wonder, and Magnitude of Devastation. Orotund quality, medium depth, slight aspiration ; average volume ; low pitch ; very long quantity ; emphasis with median stress. "He resolved, in the gloomy recesses of a mind capacious of such things, to leave the whole Carnatic an everlasting monument of vengeance ; and to put perpetual desolation, as a barrier, between him and those, against whom, the faith which holds the moral ele- ments of the world together, was no protection. From Patrick Henry's Speech in Favor of Resistance to Great Britain. Courageous Annunciation of the Inevitability of Resistance. Orotund quality, greatest depth ; very large volume ; high pitch ; short quantity. 3 3 8 v v \ V 3 5 J 3 / "I repeat it, ' sirs, | we must | fight! || An appeal to arms, | and 3 / A / v ^ / 2 3 4 4 « to the God of Hosts, ' is all that is left us." Enthusiasm, Heroic Resolution. Orotund quality, medium depth; volume changes from very large to largest; pitch from very high to highest; short quantity. 6 3 y 8 y % y y "I know not what course ' others | may take; || but as for me, — | 12 3 / y v 8 9 5 give me liberty, | or give me • death!" * The following description of Henry's manner of delivering the last two clauses, and of the effect produced by the speech, invests 208 EXEMPLIFICATION OF Didactic Expression. (complete notation.) Colloquial quality, least sharpness ; average volume ; middle pitch ; medium quantity ; comparatively long intersyllabic, interverbal, and sentensic pauses. / y \* / V \ ////'/ V \ / / 2 2 1 12 1 21221232 2 " Reading ' makes a full man, | conversation a ready man, ' and // / /\! \ \\ / / ■ / \ A / / 32 232 1 23 221 2331 writing f an exact man. ||| Therefore, ' if a man write little, | he \ / V /\\ / / / V / / / y / V 22 1 2212323 212 112 needs a great ' memory ; || if he converse ' little, | he wants a pres- the notation with an interest which justifies the insertion in this place. — "'But as for me,' — cried he, with both his arms extended aloft, his brows knit, every feature marked with the resolute purpose of his soul, and his voice swelled to its boldest note of exclamation, — 'give me liberty, or give me death !' "He took his seat. No murmur of applause was heard. The effect was too deep. After the trance of a moment, several members started from their seats. The cry ' to arms,' seemed to quiver on every lip, and gleam from every eye. Richard H. Lee arose, and supported Mr. Henry with his usual spirit and elegance; but his melody was lost amidst the agitations of that ocean which the master-spirit of the storm had lifted up on high. That supernatural voice still sounded in their ears, and shivered along their arteries. They heard in every pause, the Cry of ' liberty or death.' They became impatient of speech, — their souls were on fire for action." * Care must be taken, that, in this example, the delivery does not become formally precise, by giving undue volume and quantity to the downward concretes. DIDACTIC EXPRESSION. 209 \ \ S / / V / / / \ / /. V \ 3 3 23 2 3 221223 3 2 ent ' wit ; || and if he read ' little, | he ought to have much ' cun- \ / / / V / / \ / / \ 2 4334 33 2231 ning, j 1 that he may seem ' to know | what he does not." * General Expression, Instruction. — Elegance of Style. Colloquial quality approximating to the orotund ; average volume ; middle pitch; medium quantity; prevalence of upward slide; em- phasis with median stress on interval of a third; designation by pauses. "In the art of speaking, as in all other arts, a just combination of those qualities necessary to the end proposed, is the true rule of taste. Excess is always wrong. Too much ornament is an evil, — too little, also. The one may impede the progress of the argument, or divert attention from it, by the introduction of extraneous matter; the other may exhaust attention, or weary by monotony. Elegance is in a just medium. The safer side to err on is that of abundance ; as profusion is better than poverty, as it is better to be detained by the beauties of a landscape, than by the weariness of a desert." — W. C. Preston. Humor and Ridicule. Orotund quality, very slight depth, decreasing on the concretes; average volume ; middle pitch ; comparatively long medium quan- tity ; frequent monotone phrase with varied current pitch, frequent downward slide. | "Nothing, in my opinion, can be more ill judged in an orator, than to indulge himself in this idle, artificial parade. It is par- ticularly unfortunate in an exordium. It is as much as to say, | * The false cadence here serves the purpose of emphasis. 18* 210 EXEMPLIFICATION OF caveat auditor; J and, for ray own part, the moment I see an orator rise J with this menacing majesty, assume a look of solemn wisdom, stretch forth his right arm, like the rubens dexter of Jove, and hear him open his throat in a deep and tragic tone, 1 1 feel myself invo- luntarily braced in an attitude of defence, as if I were going to take a bout with Mendoza." | — Wirt. a and b ^he g enera [ expression is not applicable to these portions of the passage. c Neither the monotone nor the downward slide is appropriate to this part. Poetic Expression. (complete notation.) Slight Manifestation of Awe and Wiliiness mingled with Ideognomy. Orotund quality, great depth, occasional aspiration; very large vo- lume ; middle pitch ; medium quantity. 4 5 3 4 / / y 5 5 4 "Come, ' in consumption's ghastly form, | / \ / A /&/'>% 3 23 4 2321 The earthquake shock, | the ocean storm. «t\ / / / / 3 2 12 3 Come, | when the heart beats 5 / * 2 high 1 2 and warm, e / / / \* d 3 2 2 3 With banquet- 1 song, ' 2 and \ 3 3 3 dance, 1 and wine, | 2 2 2 T 2 1 1 And thou art ' terrible ; llll / , 2 th / a 2 * / 2 tea M POETIC EXPRESSION 211 2 The ■ % / / / / } 2 2 2 2 2 groan, | the knell, | the pall, | l the / / \ / * »j 3 3 4 5 5 And all we know, 1 or | dream, 1 ) i / 2 Of 3 ml\// m \ / \ 2 12 2 1 agony, | | are thine." 2 ■ / 2 bier, |' fear | a High pitch. 6 Continually decreasing depth. Medium depth, large volume, high pitch. d Colloquial quality, least sharpness. e Greatest depth, a medium degree of aspiration, low pitch. f Small volume, low pitch, very long quantity. e Colloquial quality, medium sharpness. * Greatest depth on " groan ;" depth increasing on the concretes of knell" and "pall." >' Lowest pitch. j Average volume, long quantity. * Colloquial quality, great sharpness. 1 Predominant aspiration. m Very long intersyllabic pauses. JOXOUSKJESS. Orotund quality, least depth ; large volume ; high pitch j medium quantity. / A / V / / / / 4 3343 44 3 "Thy grasp is welcome, | as the hand / \' / / / / / \ 2 232232 2 Of brother in a foreign land ; / / Thy summons, / / / 4 3 2 That told the / / / 44 5 welcome as the cry ' 4 3 *0 // . 2 2 2 2 Indian isles / \ 1 2 were nigh, 1 2 2 2 To the world-seeking aandb s ma n volume and long quantity ^\ \ 3 2 1 Genoese 212 EXEMPLIFICATION OF Beauty of Scenery. Orotund quality, least depth: small volume; middle pitch; long quantity. / ■ / / / \ / P 3 3 3 2 2 212 " When the land-wind, | from woods of palm, I s r V / / / \ / 211 1 1 212 And orange groves, ' and fields of balm, | A / / // \ 1 2 2 2 3 2 1 Blew o'er the Haytien seas." Greater al and Special Expression. (index notation.) Pathos. Orotund quality approximating to the colloquial; small volume; low pitch ; long quantity; prevalent upward slide and monotone ; emphasis with wave of the second, or median stress. " But he who struts his hour upon the stage, | * Can scarce extend his fame for half 1 an age; || * The caesural and the demi-ceesural pause, belong to those ficti- tious instruments of expression which the imagination has presented, to supply the deficiency of knowledge. An examination of some of the opinions concerning the application of the caesura, develops, in regard to purpose and place, that indefiniteness and antagonism of view which always accompany the use of imaginary agencies or necessities. The csesural pause is deemed essential to the euphony of verse embracing eight syllables or more; though some writers exclude the octosyllabic. Blair, referring to heroic verse, says, — when the pause falls earliest, that is, after the fourth syllable, the briskest POETIC EXPRESSION. 213 Nor pen, ' nor pencil, | can the actor I save, | The art and artist, | share one common grave. ||||| I O let me drop one tributary tear, | I I On poor Jack Falstaff's grave, | and Juliet's bier! |||| | You, | to their worth, ' must testimony give, | 'Tis in your hearts ' alone, | their praise ' can live. |||| Still | as the scpnes of life will shift away, | The strong impressions of their art | decay ; || Your children | cannot feel what you ' have known, f They'll boast | of Quins and Cibbers of their own." aandb Very long quantity. melody is thereby formed. When it falls after the fifth, the verse loses this brisk and sprightly air, and becomes more smooth, gentle, and flowing. When the pause occurs after the sixth, the verse marches with a more slow and measured pace ; but the grave, solemn cadence becomes still more sensible, when the pause falls after the seventh syllable. Walker asserts, that " though the most harmonious place for the capital pause" (the csesural as contrasted with the demi-caesural,) " is after the fourth syllable, it may, for the sake of expressing the sense strongly and suitably, and, sometimes, even for the sake of variety, be placed at several other intervals; — " and, in an example, places this pause after the eighth syllable. Another writer declares that "this pause may exist in any part of the line, but is most agreeable when found in the middle." Blair truly remarks, that those writers who admit this pause after any syllable, if it accords with the sense, virtually " maintain that there is no pause at all belonging to the natural melody of the verse." But the general opinion, that the placing of this pause at or near the middle of the line is most favor- able to the music of the verse, does not accord with the expressive- ness assigned by Blair to the pause after the seventh syllable. 214 EXEMPLIFICATION OF Splendor and Sublimity. Orotund quality, medium depth; large volume; low pitch; long quantity; frequent monotone and median stress. / [J / :/ /■ / / P / 3 2 2 2 1 1223 34 "But yonder comes i the powerful king of day, | / 0/ / / \* 2 3 4 3 2 1 Rejoicing ' in the east. || The lessening cloud, In Murdoch and Russell's Orthophony, two demi-csesuras are deemed equivalent to a caesura ; as this opinion must generally re- sult in placing the pauses away from the middle of the line, and in those places supposed to be least adapted to melodious utterance, it affords additional evidence of the futility of csesural punctuation. As most of the writers who deem the caesura necessary to the me- lody of the verse, do not admit the necessity of the demi-ceesura, it is not requisite to show, in this place, that it must frequently be de- structive to both sense and melody. The number and position of pauses, as has been shown, affect the melody of language; but it is upon the diversity and relative position, that the required expression depends, and, therefore, not, in verse, upon a pause after a certain syllable in every line. In reading or reciting poetry, few lines occur which do not con- tain one pause at least. The main objection to csesural punctuation is, that it demands a pause in every line, even when a pause is con- trary to the sense, and its omission adds to melodiousness by pro- moting variety. In rapid and forcible utterance, a break is manifestly improper. * The descent of a quartone does net form an harmonious cadence ; out the ascent of ing a tone above the preceding syllable, is ex- pressive of the verbal import, and the descent of re a third below " day," would impart undue solemnity. The pause before in pre- vents much unpleasantness of sound. POETIC EXPRESSION. 215 The kindling azure, and the mountain's brow, Tipt with ethereal gold, his near approach, Betoken glad." IMPRECATION, DETESTATION, SCORNFUL REPROACH. Orotund quality approximating to the guttural, aspiration ; largest volume; middle pitch ; short quantity. 3 V 5 a . s 7 \ „ & " May their fate ' be a mock-word ! || May men of all lands ' 6 6 8 / . *J ^ Laugh out, | with a scorn ' that shall ring to the poles, I 1 3 4 6 3 / / \ / When each sword ' that the cowards ' let fall from their hands, | A 3 . 11 t5 Shall be forged into fetters, ' to enter their souls ! " Barbarous Triumph. Orotund quality, medium depth ; large volume ; comparatively high middle pitch ; medium quantity. " Proudly our pibroch has thrilled in Glen-Fruin, And Banochar's groans to our slogan replied, Glen-Luss and Ross-Dhn, they are smoking in ruin, And the best of Loch Lomond lie dead on her side."* Humorous Narrative, Imitation of Feminine Alarm and Burlesque Male Dignitt. Combination of orotund and colloquial quality ; large volume ; middle pitch ; medium quantity on the first stanza, long quantity on the second; frequent downward slide. * The appropriate expression of this passage is derived mainly from the syllabic structure, and the number of literal guttural sounds. These sounds render the approximation of the orotund to the guttural, (otherwise requisite,) unnecessary. 216 EXEMPLIFICATION OF " 'T was long | before the customers Were suited to their mind, j When Betty | screamed | into his ears' 5 3 \ \ The wine ' is left behind.' ■ 3 5 Good lack!' ^ \ quoth he, ''yet bring it me, 3 My leathern belt ' likewise, |' / ^ / / S ^ ^i In which I bear my trusty sword, When I do I ex-er-cise.' " * " Colloquial quality, least sharpness. 6 Reduced falsette, colloquial modifications, very high pitch. c Aspirated quality. Weariness, Enforced Merriment. Guttural quality, least depth, slightest vibration, aspiration ; very large volume; low pitch; short quantity; occasional complete expiration. 3 "I come,/// 2 III because your horse || would come:|||| And, if | I well forebode,/^ || 3 & . w My hat and wig | will soon be here,/^ 2 ///2 III 3 W They are upon the road."f * Slight protraction of the radical of all the slides. f The tittles of the tremor are abrupt concretes. POETIC EXPRESSION. 217 Foppish Ardor, Affectation restraining and modifying Fervent Expression of Love. Colloquial quality, medium depth; small volume; middle pitch; long quantity. / ' /' P "Pity my grief, ' angelic fair! | 3 P / ^ Behold j my anguish and despair! |' P / ^ / For you | this heart must ever burn, | O bless me with a kind return! ||| My love, ' no language can express, j Reward it then ' with happiness; || Nothing on earth but you ' I prize, | All else is trifling ] in my eyes, |' And cheerfully would I resign 3 The wealth of worlds, [ to call you mine." 19 PART II. GESTURE (219) GESTURE CHAPTER I. THE NATURE AND PURPOSE OF GESTURE. Gesture is the modification of the motion, position, and appearance of the external parts of the body, in the visible manifestation of the import of language.* Its general or fundamental traits, originate in the tem- perament and mental constitution of the gesticulator ; and diversity of physical structure modifies the details. The four temperaments into which physiologists class the varieties of the human constitution, — the lymphatic, the sanguine, the bilious, and the nervous, — are as * The popular use of the term " gesture " does not include the action of the lineaments of the face. On the ancient Grecian and Roman stage, the persona worn by the actors deprived them of the aid of physiognomical expression, which was therefore not included in gesture in the "scenes" of Greece and Rome. In this work, the term is employed in its most comprehensive sense ; as is evident from the definition given. 19* (221) 222 NATURE AND PURPOSE clearly manifested by the habitual action, as by the in- dications of the bodily structure. The lymphatic temperament is characterized by the general absence of gesticulatory movements, the sluggish, forced, and insignificant character of those which are employed, and an unvarying expression in the counte- nance. The sanguine is associated in speech with more action than the lymphatic, the movements are slow but free ; the action of the countenance indicates tendency to sensual enjoyments. The bilious temperament is marked by frequent, energetic, and decisive gestures ; the movements of the countenance are varied and signi- ficant. The nervous is associated with action which is animated and flowing, though not so energetic and fre- quent as that which characterizes the bilious. Grace is a predominant attribute. This connection of gesture with temperament, refers to the circumstances in which gesture is not an unavoid- able communicative agent, nor an involuntary accompa- niment of speech. The restraints placed upon the tendency to gesture by the conventionalisms of society, have arisen from the de- sire to communicate with the least corporeal efforts ; but, though verbal communication demands less physical ex- ertion than gesticulatory, it cannot be productive of the same ends. When from deficiency in verbal language, whether from lack or obscurity of words, gesture is indispensable, OF GESTURE. 223 accordance -with the intended meaning is necessarily re- garded ; but when the speaker deems that vocal delivery alone renders his meaning understood, mere impulse to action, unregulated by definite ends, is, in the present state of delivery, generally the sole guide in the execu- tion. Gesture, thus performed, can only accord acci- dentally with the sense. Gesture as an adjunct of vocal expression, necessarily differs from gesture as a sole communicative agent ; as an elucidator of verbal import, from gesture as an unde- signed corporeal effect of passion and intensity of vocal delivery ; and as an instinctive conformer to thought, from gesture as a designed conformer. The significant character of action sometimes resem- bles the dim intimations and indefinite similitudes, with all their great suggestiveness, which distinguish the poetry of Milton ; at other times, it approaches to the precision of illustration and exactness of resemblance which form the distinguishing characteristic of Dante. Gesture is rendered expressive by fine and delicate touches. It has been justly remarked, "that the more perfect the exercise of the will is, over every part of the body on which expression, as derived from gesture, de- pends, the more perfect will that expression be." But mere volition cannot produce the semblance ; the details may be adapted to production of a resemblance, and yet be, in the aggregation, absurd. This is sometimes occa- 224 NATURE AND PURPOSE sioned by a too literal application, or by making the pro- gression invariably follow the order of the words. Many words, conveying various ideas, may be em- ployed to present the modifications and relations of the principal idea ; if the gesture is successively adapted to them, confusion in the import results ; the purport of the whole, is the subject of gesticulatory delineation ; and the illustration of a single word, is frequently adequate to the visible exposition of the sentence. These princi- ples, by causing the action to turn neither to the right nor to the left, but to proceed straight forward to the goal, remove all fears of redundancy, — a favorite theme with many writers, who, having presented some silly mode of gesticulation, very wisely endeavor to limit the execution. The most direct and complete imitation by gesture, is antagonistic to multiplicity of details. "A slight move- ment of the head," observes the author of the Chirono- mia, " a look of the eye, a turn of the hand, a judicious pause or interruption of gesture, or a change of position in the feet, often illuminates the meaning of a passage, and sends it full of light and warmth into the under- standing." Gesticulatory multiplicity is not analogous to verbal; mere tautology does not pervert the meaning, as the sense of the context determines the sentential meaning of the superfluous words : gesture is self-expla- natory, and various details are suggestive of different objects. If a painter should delineate an object as it OF GESTUKE. 225 appears through a microscope, he would represent some- thing that the uninformed eye could not recognise ; so the actor who should employ an analogous style of imi- tation by gesture, would perplex the understanding by his elaboration. Caldwell says, that " while engaged in the act of speaking, there is no such thing as a rest of the entire person." This does not accord with the intermission of gesture, to be observed, according to this writer, upon some occasions. The significancy of gesture sometimes requires immobility of the various parts of the body and a fixed position, during the delivery of an entire sen- tence. In what is called the absence of gesture, the various parts of the body must assume some position, and the countenance must have some expression ; those who understand the purpose of gesture, make the coun- tenance and attitude conform to the sentiment ; those whose gestures are mere accompaniments of the volume and quantity of the voice, disregard the import of atti- tudinal and physiognomical expression. The writer has seen a speaker go through a whole speech on a sub- ject of great social interest with folded arms. The self- sufficiency, presumption, and mental incapacity for the conception of the full import of language, indicated by this attitude, were doubtless appropriate to the speaker, but a less display of these traits would have been preferable. Mere perception is rarely accompanied with gesture ; 226 NATURE AND PURPOSE which occurs in its highest excellence, when imagina- tion, (the extension of conception, and the greatest degree of intellectual activity,) prompts it. Great mental impressibility, ever unconsciously seeks to pre- sent outwardly the image in the mind. Thus, when Partridge, in Fielding's novel, beheld the representation of Hamlet, " he sat with his eyes fixed partly on the Ghost, and partly on Hamlet, and with his mouth open ; the same passions which succeeded each other in Hamlet, succeeded likewise in him." The demeanor of young Polydore in Cymbeline, while listening to the narration of old Morgan, is thus described by the narrator, — "Even then, The princely blood flows in his cheek, he sweats, Strains his young nerves, and puts himself in 'posture. That acts my words" Thus nature acts, according to two of her depicters. An additional evidence is afforded by the following de- scription of a scene in real life : — " The Arabs, after having taken their coffee, and conversed for some time with great earnestness and with their usual loquacity, observed a strict silence, when the sheik began his tale. We could, by the light of the fire, distinguish his signi- ficant gestures, his black beard, his white teeth, and the various plaits and positions which he gave to his tunic during the recital. His companions listened to him with the most profound attention; all of them, with their OP GESTURE. 227 bodies Lent forward, and their faces over the flame, alternately sending forth shouts of admiration, and repeating, with great emphasis, the gestures of the historian." Quintilian's precept, interdicting the imitation of those objects which are the subjects of discourse, is one of the instances in which the rules of art conflict with nature. Animadversions upon imitative action, generally arise from an improper subject or mode of imitation. The condemnation of this kind of action by the Abbe du Bos, seems to have reference to merely literal gestures, or the "suiting of the action to the particular signification of the word which the speaker pronounces." Quintilian, in illustrating the precept referred to, instances the con- temptuous railing of Cicero, in his oration against Verres, when he describes Verres leaning upon a courtezan, and the indignant denunciation of the cruelties inflicted by Verres upon Publius Gravius Cosanus, — and says, that an orator ought not to copy the attitude of Verres hold- ing a vile courtezan in his arms, nor that posture and movement of the arms which demand the action of an executioner. But the application of these views of the Roman rhetorician, renders expression inadequate. The means best adapted to the end, is what the orator re- quires. To delineate solely the disdain, aversion, aston- ishment, and horror, with which Cicero contemplated the actions of Verres, as recommended by Quintilian, cannot be as effective in arousing similar sensations in the minds 228 NATURE AND PURPOSE of the audience, as the bringing of the actions of Verres to the eye by a suggestive gesture ; which does not re- quire an imitation of a whole nor of various parts, but of a distinguishing trait. The mimicry attributed to Colley Cibber, of imitating, with his forefinger and thumb, the snuffing of a candle on the words of Wolsey — " 'T is I must snuff it, And out it goes, — " was doubtless very ridiculous. The absurdity consisted in the representation of the means, instead of the end. The hand should seemingly push the light away, and then fall to rest : the latter gesture denoting the con- summation of the act. A distinguished actress of the present day, in utter- ing, in the character of the Countess in Knowles's play of Love, the lines — " I never dreamed of an abyss so hideous, And to be standing on the very brink oft, — " held the arms upwards, leaned forward, and gazed downward with an expression of horror in the counte- nance. As a material abyss is not the subject of the Countess's thoughts, no reference to it should be made in the expression. The Countess should recoil with aston- ishment and terror, as if retreating from a present danger, without regarding the verbal import. OF GESTURE. 229 The injunction of Hamlet to the player, — " To snit the action to the word, — " evidently refers to the accord of the energy and extent of the one, with the volume and quantity of the other, and to the conjoint execution. To apply the precept to verbal import, is to recommend action entirely literal ; and "word," in the latter part of the epanodos,* cannot denote verbal signification, nor, by metalepsis, the import of the phraseology. Analogous to the conforming of gesture to verbal im- port, is the following of the arrangement of words in the progression of action. To adapt the action to the signification of words as they successively occur, fre- quently makes it at variance with the sentiment ; even when the illustration of verbal import furnishes the ap- propriate expression. To bring both hands (the ends of the fingers touching,) to the breast, and afterwards ex- tend the arms to their extreme limits, right and left, in conformity to the direction of Austin on the line — '• Who centred in our make such strange extremes," is to reverse the proper progess of the action. Though the gestures which should accompany " centred," " make," and "extremes," are directly antagonistic to the signifi- cations of the words, they accord with the general sen- timent. Mere word illustration is a result of the antagonism be- tween natural and conventional action. The meaningless * " Suit the action to the word, the ivord to the action." 20 230 NATURE AND PURPOSE action of convention, and the demands of nature for significance when conflicting, lead to the improper ap- plication of significant action, — the giving of meaning to gesture without reference to the meaning of language. "Amongst the moderns," says Sheridan, "the insti- tuted signs of gesture were not founded on nature, but caprice and fancy, and obtained their whole force from fashion and custom. Consequently, they had neither meaning nor beauty to any but the natives of each country, and were totally different from each other in the several countries." This kind of action, being al- most useless for the purposes of dramatic and oratorical communication, inevitably falls into disuse and neglect. From the little which is effected by its execution, the general opinion of the nature and purpose of gesture has been deduced. But "Phidias could have done nothing with an old tree and a fish-bone, or Homer with the language of New Holland." A writer, in commending the insufficient action of British, speakers, observes: — "It must be allowed, that in the time of the ancients, action had more influence in eloquence than at the present time. The style of their orators being consonant with it, and the number of their auditors requiring it as a type of words, which could not always be distinctly heard by such multitudes. Therefore, a style of action which was admissible in them, would, in us, be deemed extravagant and un- natural." OF GESTURE. 231 Whatever may be the opinion of a mode of delivery which communicates through two avenues to the mind instead of one, its effectiveness will ever recommend its employment ; and a knowledge of its character shows that it is not " extravagant and unnatural." The " influence" of gesture "in eloquence," is far greater than this writer imagined. Gesture not only communicates what is vocally incommunicable, but acts as a stimulus to thought and imagination. 232 DIVERSITIES OF GESTURE CHAPTER II. DIVERSITIES OF GESTURE. The accord of voice and gesture embraces not only consonance of execution,* but analogy in significant re- lation to the subject expressed. The significant character of action is frequently similar to the relation borne by the literal acceptation of a metaphor, synecdoche, me- tonymy, allusion, and irony, to the figurative. This mode of gesture is symbolically significant. Like vocal expression, gesture may present either a sign without analogy or resemblance, or may present an express imi- tation. The designations significative and imitative, are, therefore, alike applicable to gesture and voice. Gesture is denotative of character, but unlike vocal characteristic expression, it may express character solely. The gesture appropriate to the character, continuing when the voice * It must not be understood by consonance of execution, that action always accompanies the voice ; as one may sometimes succeed the other. In irony there may be antagonism ; and not only in significance, but in mode of execution. The requisite import of gesture may sometimes demand diverse execution. DIVERSITIES OF GESTURE. 233 ceases, or, rather, when the expression of thought and emotion ceases, may be denominated personative. Action is varied by the subject and occasion of its employment. In pathognomy, the variations in the de- meanor of the body range from the greatest muscular contraction to the extreme of muscular relaxation, from the slightest movement of a hand or foot to the most extended movements of the hands and feet. The most limited pathognomical action of any part of the body, generally requires the consentaneous action of the various other parts. Ideognomy is not characterized by the state of the muscles, nor the energy or forcelessness of the movements in pathognomy : to delineate even the idea of a passion, presents but a faint imitation of the expression of the passion itself. The motions and atti- tudes are more multiform, though not so sudden in transi- tion. The angular and rectilinear movements are less frequent. Isolated gestures of a single part of the body occur, but the unity and connection of the move- ments and positions of various parts, are always pre- served. When the pathognomical action is voluntary, the dis- criminating properties are not so prominent, and it is readily associated with the ideognomical. Soliloquy, colloquy, oratory, and recitation, require four different styles of gesture. Soliloquial action is the most circumscribed form. It should never be apparently 20* 234 DIVERSITIES OF GESTURE. intended for illustration, but should appear to arise from the force of the sentiment. It consists mainly of varying attitude, physiognomical expression,* and of movements of the hand from the wrist, and the arm from the elbow. The transition of attitude, should be but slightly per- ceptible, and the movements of the arm at the elbow, should be sufficient to prevent stiffness. In colloquy, the hands are extended further from the trunk, various movements of the head are frequently employed, and the motions and positions of all parts of the body comply with the demands of illustration, but with limita- tion in the execution. Oratorical action requires ex- tended movements of the arms, both of which are often employed simultaneously, — both executing the same movement, or assuming the same position, or the gesture of one hand, is subordinate to that of the other ; some- times, delineation requires the gesture of one hand to be dissimilar to that of the other. The action of every part of the body corresponds, in freedom of movement, to that of the arms. In recitation, the gesture is greatly diversified. It may be soliloquial, colloquial, or orato- rical, in character. Imitative gesticulatory expression * Cibber, speaking of Betterton, says, — "In all his soliloquies of moment, the strong- intelligence of his attitude and aspect, drew you into such an impatient gaze and eager expectation, that you almost imbibed the sentiment with your eye, before it could reach your ear." DIVERSITIES OF GESTURE. ~ 235 leads to frequent changes in the movements of the head and feet, and in the general bearing of the body. The action here assigned to soliloquy, colloquy, and oratory, is not exclusive of other modes. The character- istics of oratorical action may be introduced in soliloquy, but soliloquial action, unless illustrative of character, is rarely applicable to oratory. In colloquy, every form of action occurs. Exclusive pathognomy is alike in every form of delivery. Physiognomical expression is also alike in every form of delivery when employed for the same end. Figures of thought are likewise produc- tive of similarity. The drama requires, with the highest degree of ex- pressiveness, the colloquial and the soliloquial form of gesture. Though in dramatic oratory, the action may sweep or glide through a greater extent than in colloquy, the form is essentially colloquial. Dramatic action pre- sents a miniature resemblance, oratorical, a full-length outline. The illustration of colloquial acts (attention, acquitting, dismissing, giving, &c.,) affords a variety of action, whose peculiar application is not required in oratory, though requisite in dramatic representation. The expression of some passions never occurs in oratory ; and that vehemence of emotion which naturally over- powers reason, is seldom appropriate to oratorical deli- very. But it is not true, that " the expression of anger, of contempt, or of any vehemence of passion, finds no 236 DIVERSITIES OF GESTURE. place in oratory," as Caldwell asserts. Jealousy, peevishness, and malice, are examples of the emotions whose expression is inapplicable, and shame and re- morse, of those whose moderate feeling only, is admis- sible. But the idea of every passion, and of every colloquial act, may be a subject of oratorical delineation. MOTION. 237 CHAPTER III. MOTION. The parts of the body which are to be viewed as the instruments of gesture, are the head, the lineaments of the face, the shoulders, the arms, the palms of the hands, the fingers, the trunk, the lower limbs, the knees, and the feet. The diversity in the movements of these instruments, arises from the direction, extent, and mode of those of the head, arms, trunk and feet ; the direction and mode of those of the hands, change in the disposition of the shoulders, fingers, and lineaments of the face, and in that of the lower limbs and knees in diversifying the general posture of the body. The erect position of the body, with the feet parallel and touching, the fingers of one hand laid over those of the other on the middle of the breast, may be considered the centre from which the greater part of the motions of the head, trunk, feet, and arms, emerge, and to which they converge. Towards every horizontal point of the circuit of action, the head, trunk, and feet, may move horizontally; (each foot moving through a semi-circle.) Each hand,* while the arm moves at full length horizon- * The hand indicates the main direction of the movement of the arm, though the hand and arm do not always move simultaneously in the same direction. 238 MOTION, tally, cannot describe a full semicircle, but can, when the arm moves vertically. The points reached by the unbended arms, as they move backwards, are the extreme limits of the segment which passes in front of the body ; which is the hori- zontal termination of the movements of the arms. Two similar segments, parallel with this, — one at the upward limit of the motion of the arms, the other, at the downward limit, — are the upward and the downward terminations of the movements, unless they are directed towards the zenith or the nadir. When reference is made to the past, or to objects which are, or may be deemed, behind the speaker, change in the position of the feet, frequently places the arm on a line with the front of the body. The movements of the head, are lateral, vertical, backwards, and forwards, and are necessarily very limited in extent, but sufficient to direct the face towards almost every point to which the hands move in speech. The motions of the trunk are the same in direction as those of the head, but are carried further. The action of the foot is a rise from the ground, fol- lowed with a forward, backward, or lateral movement. But the foot may sometimes descend to the place from which it moves. One part of the body is frequently instrumental in augmenting the sphere of action of another part : as when the arm moves the hand ; the trunk, the head ; and the feet, the trunk. There may be a combined move- MOTION. 239 ment of two or more parts, to effect a particular execu- tion of the action of a single part. Thus, the trunk, when aided by the action of the feet, may move the head to a greater distance from the centre of action, than the hand attains by the instrumental action of the arm solely. When a foot moves in any direction, and the body inclines in the same direction, the hand is enabled to reach its ultimate extension ; — which is the verge of action. In combined action, when expression does not require perfect singleness of motion, various parts of the body have movements independent of the general movement. The hand moves towards every part of an imaginary vertical circle, whose centre the wrist occupies. It also turns upon the wrist, in those modes of action called pronation and supination, and describes curves and circles, vertically and horizontally, and at every degree between the perpendicular and the horizontal.* One or both of the shoulders may be raised or de- pressed, moved backwards or forwards. The fingers and thumb separate, close, bend, move towards and from the palm ; and the ends of the fingers move towards and from the end of the thumb. These actions may be executed by one or more of the fingers. The movements of the countenance embrace the * When the hands are combined, the movements consist mainly of turns on the wrist, and single or continuous change of place of contact. 240 MOTION. arching Ro pshq — may I not see him shining on the broken the sun in the heavens, is s and dishonored fragments of a once glorious Union p i h q — (B dt on States dis- rRl B 1 c Lw 1 Blc Lsc Art 34 Ihf BdtlhcO (Bp^-hc Bp^rhq) (BcZhc BcZhx) severed, discordant, belligerent; mhq — p£irhx- on a land rent with civil feuds, ORATORICAL STYLE. 289 Ldv Lss Al EBOl* tip eh c — v e h q — vehc or drenched, it may be, in fraternal blood ! Rl Br Ldv A r U — v n e q hi TJ tip 1 h f — p 1 d b — Let their last feeble and aL2 lingering glance, rather behold the gorgeous ensign of the republic, L 1 — volZ U d Bplhx p 1 d b — v 1 e q. now known and honored throughout the earth, still 'full high ad- L2 Ll L2 Br Ldv e vnec ( — pnhcw — vnex) its arms and trophies streaming in their original lustre, Ll vanced ' Ar Bvleq. not a stripe erased or polluted, not a single star obscured." rRl SIGNIFICANCY OF SIGNS. Division 1. — E B u. Eyeballs upward. Rl — dtnefbn U . Feet, right first. Left hand, downward thumb, natural, elevated, for- ward ; arm bending; continued. Look upward. — p 1 d x. Left hand, prone, level, downward, extended, v i e q — . Right hand, ver- tical, index, elevated, oblique. 2. — B 1 Ld r Ls s. Brows lowered. Upper eyelid raised. Lips separated. U. Look upward. Bvlhq D Ro . Both aL~2 hands, vertical, level, horizontal, oblique ; continued. Look down- ward and oblique right. Feet advance to left second, pshq — . Right hand, prone, separated, horizontal, oblique. 3. — B 1 c Liv 1. Brows lowered and contracted. Lower lip lowered. B 1 c Ls c A rt. Brows lowered and contracted. Lips compressed. Angles retracted, p i h q — Right hand, prone, index, horizontal, rRl oblique. Feet retreat to right first. (Bcftlhf Bdfclhq). Both hands, downward thumb, level, horizontal, forward, and downward thumb, level, horizontal, oblique. (B p gr h c B p gr h q). Both hands, prone, grasping, horizontal, across ; and prone, grasping, horizontal, oblique. (B cl h c BcZhx). Both hands, clenched, horizontal, across, and clenched, horizontal, extended. 25 290 EXEMPLIFICATION OF 4. — Ld x Ls s Al E B d. Upper eyelid raked. Lips separated. Angles lowered. Eyeballs downward, s n h q — . Right hand, supine, natural, horizontal, oblique, pgrhx . Right hand, prone, grasp- ing, horizontal, extended ; continued, ifehc — . Right hand, upward R2 thumb, extended, horizontal, across. Feet, right second, vehq — vehc Rl Right hand, vertical, extended, horizontal, oblique; left, vertical, ex- tended", horizontal, across. Feet, right first. 5. — Br Ld x A r. Brows raised. Upper eyelid raised. Angles raised. U up lhf — . Look upward. Right hand, upward thumb, a~L~2 level, horizontal, forward. Feet advance to left second, pldb — . Right hand, prone, level, downward, backward. U. Look upward. Ll Feet, left first. — v n e q bn . Left hand, vertical, natural, elevated, oblique ; arm bending, — continued. — wlZ U d. Left hand, vertical and outward, level, zenith ; continued. Look upward ; arm descending. B p 1 h x. Both hands, prone, level, horizontal, extended. L2 Feet, left second. Ll. Feet, left first, pldb — v 1 e q. Right hand, L2 prone, level, downward, backward ; left, vertical, level, elevated, oblique. Feet, left second. 6. — Br Ld x A r. Brows raised. Upper eyelid raised. Angles raised. v n e c — . Right hand, vertical, natural, elevated, Ll across; continued. Feet, left first. ( — pnhcw — v n e x). Left hand, prone, natural, horizontal, across, waving to vertical, natural, elevated, extended. 7. — B v 1 e q . Both hands, vertical, level, elevated, oblique; rRl continued. Feet, retire to right, first. Moderation characterizes the action on the first divi- sion of this passage. Boldness and magnificence consti- tute the executive character of the action on " may I RECITATIONAL STYLE. 291 not," &c. Moderation combined with energy is the quality of the subsequent gesture, to the fifth division. The fifth, the sixth, and the seventh division, require magnificence. Recitational Style. ClEOPATRA 05T THE CxDNUS. Mournfulness, Splendor, Desolation, Regret. F plhq U 1. "Away by the lofty mount! Rl Fplhq- 2. And away by the lonely shore ! aR2 Br Ldr plhq — pldx vlhq — vldx 3. And away by the gushing- of many a fount, R2x Ld\ Al BR 4. Where fountains gush no more! Rl EBvl i B ape fin — folef vnef bnhc* — 5. Oh ! for some warning vision there, rLl L — slhq — 6. Some voice that should have spoken (snhf- snhq— ) (Bvlhf Bpldq) 7. Of climes to be laid waste and bare, Cr Ar Al Bvleq B T 8. And glad young spirits broken!" * he denotes that the hand describes a small horizontally circular movement in front of the forehead. 292 EXEMPLIFICATION OF SIGNIFICANCY OF SIGNS. Line 1. — F plhq U , Look forward. Right hand, Rl prone, level, horizontal, oblique; continued. Look upward. Feet, right first. 2. — F plhq . Look forward. Right hand, prone, level, aR~2 horizontal, oblique ; continued. Feet advance to right second. 3, — B r Ld r. Brows raised. Upper eyelid raised, plhq — p I d x R"2^ v 1 h q.. — v 1 d x . Right hand, prone, level, horizontal, oblique, — left, prone, level, downward, extended, — continued : — right hand, vertical, level, horizontal, oblique, — left, vertical, level, down- ward, extended ; continued. Feet, right second, extended. 4. — Ld 1 A 1. Upper eyelid lowered. Angles lowered. Feet, ~~R1 right first. B R. Both hands at rest. 5. — EB u. Eyeballs upward. Bapefbn. Both hands, applied rTl first, elevated, forward ; arms bending. Feet retire to left first. — vo 1 e f. Left hand, vertical and outward, level, elevated, forward, vnef bn he — . Right hand, vertical, natural, elevated, forward; arm bending, horizontal circular motion. 6. — L — . Right hand touches the lips. slhq — . Right hand, supine, level, horizontal, oblique. 7. — (s n h f — sn h q — ). Right hand, supine, natural, horizontal, forward, — and supine, natural, horizontal, obi ique. (Bvlhf Bpldq). Both hands, vertical, level, horizontal, forward, and prone, level, downward, oblique. 8. — Cr A r. Cheeks raised. Angles raised. A 1. Angles lowered. B v 1 e q. Both hands, vertical, level, elevated, oblique. B T. Both hands strike the thighs. The gestures on the word "away," as it successively occurs in the first three lines of this extract, exemplify a climax of action; moderation, limitation, and magnifi- cence, constituting the gradation. PERSONATIVE ACTION. 293 The change of the position of the hands on "gushing," from their position on "away" in the same line, must be executed with a semicircular movement of these instru- ments, commencing downwards. The left hand cannot attain an actually vertical position ; the notation denotes the nearest approach to it. The ascent of the hands on "glad," in the eighth line, is almost direct ; but they are not as wide apart at the cessation of the motion, as at the termination of the previous gesture. The points of agreement in sentiment, in the preceding examples of the four different modes of communication, impart a general resemblance in the visible expression of the passages, which affords means for illustrating the modifications of style ; and shows, that, though indi- vidual gestures may be similar, and variations but slight, there are sufficient discriminative marks, to constitute distinctive character. Personative Action, Ideognomical and even pathognomical gesture are diversified by peculiarities of personal action, or such habitual action as results from temperament, mental constitution, and physical state. Exemplification of this property of gesture may elucidate the variations in executive character requisite in personation. In the 25* 294 EXEMPLIFICATION OF following examples, attributes of the action of those personages whose characteristic voice has been pre- sented, are given. Cato. — Limitation; slow, free, and decisive motion; definiteness in application ; restriction in continuity. Othello. — Moderation; force; movements in mixed lines. Iago.* — Limitation; slowness; continuousness ; head inclined forward. Roderigo. — Limitation; slight rapidity; feebleness of motion; indetermination ; instability. Desdemona. — Moderation ; slowness ; gentleness. Ophelia's action resembles Desdemona's, but is more animated. In the country Julia, the gesture has the moderation and gentleness of Desdemona's, but is vivacious. Emelia. — Moderation; quickness; abruptness. Polonius. — Misdirected slight energy; frequency of motion ; ab- ruptness; body inclined forward. The Ghost of Hamlet's Father. — Limitation ; general absence of motion ; erect attitude. When movements occur, they are executed in curved lines. First Grave-digger. — Moderation; slow and slightly jerking motion in crooked lines; compression of the lips; shoulders drawn downward ; trunk thrust forward ; slight bend of the knees ; very slow movement of the feet. Queen Gertrude. — The action of Queen Gertrude is, in some respects, the female counterpart of that of Cato ; but there is greater continuity and greater limitation. Caliban. — Moderation ; force ; ruggedness ; angular movements. Ariel. — Limitation ; lightness ; graceful freedom. Miranda. — Limitation; slowness; frequent attitudinal expression; upper eyelid raised ; lips parted. Lord Ogilbt. — Moderation approaching to limitation; enforced * " The Janus glance of whose significant eye, Learning to lie with silence, would seem true, And without utterance, save the shrug or sigh, Deal round, to happy fools, its speechless obloquy." — Byron. PERSONATIVE ACTION. 295 vivacity ; irregular motion, arising from physical prostration ; attempted grace. Mr. Sterling. — Moderation; ponderous movements with medium rapidity in direct lines; arms thrust out in motion; head thrown back ; tread heavy. Mrs. Heidelberg. — Moderation; frequency of motion, particularly of the head ; angular movements. Master Walter. — Limitation; slow, curved, and decided move- ments ; stability of mien. The City Julia. — The action of Julia in the city, is marked by the display of varied inclinations of the head, extended waving move- ments of the arms, frequent curvings of the body, and the width of the step. Huon. — Limitation ; circumscription and reserve. Countess. — Limitation; force; curved movements with abrupt terminations; frequent expression by attitude; head elevated; eye glances downward. Cassius. — Medium energy; abruptness; promptness; motion in direct lines : hand frequently clenched. Richelieu. — Alternate moderation and magnificence; feebleness approaching to tremulousness ; deliberation ; occasional suddenness of motion. Abrastus. — Limitation approximating to magnificence; flowing motion, with slight energy. Mr. Solomon. — Moderation ; connection of slow with rapid move- ments ; trunk inclined forward, but frequently placed in a nearly erect position ; eyebrows slightly raised and contracted ; lips compressed. Lady Macbeth. — Energy with moderate rapidity; occasional bold- ness ; steadiness in general posture. Catharine. — Moderation; rapidly jerking motion ; frequent move- ments of the feet, and frequent change in general posture. Trifling as these characteristics of personal action may seem, and little as they may present of the gesture of each character, they yet furnish an index to the personal mode of executing gesture. When these points are regarded, and the consistency of the general action is observed, the personal gesture is assumed. 296 EXEMPLIFICATION OF Dramatic Expression. In the examples which follow, gesture is applied to passages whose vocal expression has been denoted. The combination of voice and gesture illustrates their mu- tual relations, and completes expression. Othello SoinoauiziifG. Rage and Threatening. Great energy and medium boldness. BcNdLrA)^ BlcNrLr cleqbn — upehq — Bvehq 1. " If I do prove her haggard, Ll L2 aR2 Bl Lwl Art Bwpehf B gr br 2. Though that her jesses were my dear heart-strings, Bvehf slhf— cldx 3. I'd whistle her off, and let her down the wind, aL2 Be Al (B cleqbn Bplhf) D B d E, BnR 4. To prey at fortune." . B2 Sorrowfulness and Palliation. Moderation ; slowness of motion. 2 H d f Btcbr Bupldq 4. "Haply, — for I am black, v 1 h q — up ■Q.h.fvc* 5. And have not those soft parts of conversation snhf— D 6. That chamberers have; or, for I am declined Bpldx 7. Into the vale of years; — " aR2 * Small vertical circle. DRAMATIC EXPRESSION. 297 Rejection. Moderation, slight energy. Be Ls c (dtlhf bn — dtlhx — ) 8. "Yet, that's not much." Rl Grief, Rage, and Disgust. Great energy, medium boldness. BcCrNdAri Nr Nd Hb (Bdefbn Bplhf) Hf Hd Bvoeh.ec Bslhf 9. " She 's gone ! I am abused ; and my relief Rl R2 Rl NrLr Al T s Ls s Bvlhfrf Bvlhf Hb Bcleqbn Bveeq&re 10. Must be, — to loathe her ! Oh ! curse of marriage, R2 Rl pi hf — gr br — 11. That we can call these delicate creatures ours, B.2 Nd vlhq vehq — 12. And not their appetites!" rL2 Self-loathing. Great energy, slight boldness. Ld\ Nr Lr Bcleqbn pidf — pedb 13. "I had rather be a toad Rl R2 . t o e f — " tip s d f — 14. And live upon the vapor of a dungeon, Rl R2 p h h f — up 1 br — 15. Than keep a corner in the thing I love, Rl Bvlbq 16. For others' uses!" 298 EXEMPLIFICATION OF The presentation of the significancy of the signs, in the illustration of the four styles of gesture, affords a key to notation. This obviates the necessity of append- ing to every noted passage an explanation of the signs. When the import of a special sign or notation may not be apparent, it is given. Line 9. — Hf is the position of the head at the termination of the gesture of the hands on " gone," (B p 1 h f ). 10. — Hb B cl e q bn accompanies "Oh." Ts Ls s Bveeq&w commences on "curse." 15. — The first h in p h h f — signifies the holding state of the fingers. Hamlet to his Mother. Earnest Reproach, Slight Disdain. Moderation, slight energy; motion comparatively slow. Nr Al (Sitting on the right.) v 1 h f — 1. "Proclaim no shame, B c Ls c Br Xss cl h f br sh — i i br s7i B up 1 h f p 2. When the compulsive ardor gives the charge, u 2 — up i e q Tm ad (Btehf bnd Bvlef ) (BpedqoBmlef i) 3. Since frost itself, as actively doth burn, Nr Lr H — (snhc — snhq — ) br — 4. And reason panders will." Line 3. — ad denotes that the hand ascends from its position on 2 "frost," and then descends to the same position. (B tc h f bn d B v lef). The hands. descend before ascending. The first movement in the succeeding gesture is outward, the second, inward. DRAMATIC EXPRESSION. 299 Richard III. challenging Richmond. Calling, Defiance. Great energy and boldness. The corporeal effort required to execute the volume and pitch demanded by the appropriate expression of the following passage, renders vehement gesture un- avoidable : but, though the action results from the vocal execution, its direction should be determined by the will. The shield on the left arm, and the sword in the right hand, may, to some extent, embarrass and restrain the execution, but they are instrumental in imparting signi- ficancy. The hands may be deemed clenched throughout the action ; therefore, the position of the palm and the disposition of the fingers are not noted. The physiog- nomical expression, and the general character of the action, may be indicated by the following language of Shakspeare : — " Then imitate the action of the tiger ; Stiffen the sinews, summon up the blood, Disguise fair nature with hard-favored rage; Then lend the eye a terrible aspect, Let it pry through the portage of the head, Like the brass cannon ; let the brow o'erwhelm it. "Now set the teeth, and stretch the nostril wide, Hold hard the breath, and bend up every spirit To its full height!" — hf — 6r (he- hx— ) eq — " Now, if thou dost not hide thee from my sword, L2sp LI 300 EXEMPLIFICATION OF cb — ■ — e c Now, while the angry trumpet sounds alarms, sp LI And dying groans transpierce the wounded air, e b — dx — hf b q — br Richmond ! I say come forth, and singly face me ; — " sp L2 Ll Vocal Exhaustion. Moderation. R— br- "Richard is hoarse with daring thee to arms!" L2 OSRICK RELATING TO HaMLET THE King's WaGER. Effeminacy, Vanity, and Affectation. Moderation; feebleness of motion. Cr Ls s B^ihf* Bnnhq " Three of the carriages, in faith, are very dear to fancy, very L2 1 Bichf Bwplhf Bvleq responsive to the hilts, most delicate carriages, and of very liberal conceit." Launcelot Gobbo deliberating on the Propriety of leaving shtlock. Clownish Pertness, Sportfulness, and Self-esteem. Moderation. Be Ls c p Hfs/t — ii br B up Ihf 1. " Certainly, my conscience will serve me to run from this — up i b. f 2. Jew, my master. The body is supported equally on both feet; and change in the position of the feet is frequent. * The arm moves mainly from the elbow throughout the action. DRAMATIC EXPRESSION. 301 Be Al Br — i i br H r i sh — v i e f bn sh 3. "My conscience says — no; take heed, honest Launcelot, — Br B r Ls c — viefbnsh Ub — br 4. take heed, honest Gobbo; or, as aforesaid, honest Launcelot Be B c A 1 Ls p — vlhq B vlhq 5. Gobbo, do not run, scorn running with thy heels." Line 1. — Hf sh. Head shaking vertically in the forward position. 3. — H r 1 sh. Head shaking laterally. Queen Constance to the Arch-duke of Austria. Abhorrence and Derision. Magnificence, medium energy. Ldw rNr TsZssCr N r pihf— vlhf-ddx Bvehf 1. "Thou slave! thou wretch! thou coward! Rl R2 Rl L r Ldw rNr Br Art Nr pihf— vlhf— Blnhq Bvlhf 2. Thou little valiant! great in villany! R2 Rl B re Br Nr Lr pihf— cZhf— indb vleq — ddb 3. Thou ever strong upon the stronger side ! R2 Br JEBd Lr (dtlhc — dtlhx— ) clhx— Bvlhf Bylhq 4. Thou Fortune's champion, that dost never fight rLl Ldw r L r N r up 1 h ec i — 5. But when her humorous ladyship is by L2 dt\ h q — 6. To teach thee safety!" Line 1. — v 1 h f — Bvehf. These gestures necessarily imply a preparatory retraction of the hand to the breast. The same is im- plied in the gesture, Bvehf, in the fourth line. 5. — up 1 h ec i — . Right hand moves inward to the horizontal ex tended cross position. 26 302 EXEMPLIFICATION OF Mercutio describing Mab. Glee and Fancifulness. Moderation. Br Cr snhf — (snhcl — snhf — snhq — ) 1. "And in this state, she gallops night by night El EBu p i h ec — H — v n e f lie — — br 2. Through lovers' brains, and then they dream of love, — R2 Rl pnhf — schf — phlif — phef — 3. O'er lawyers' fingers, who straight dream on fees, — EBu pnhc — ynefte — L — vnef — 4. O'er ladies' lips, who straight on kisses dream." E2 Line 1. — snhel — hand moves to the left, from the horizontal forward position. 2. — he in v n e f he — denotes a horizontally circular movement in front of the forehead. 3. — c in schf — represents the collected state of the hand. Cardinal Beaufort ok the Eve of his Death. Despair, Remorse, and Physical Suffering. The reclining posture and physical condition of Car- dinal Beaufort, give a character to the appropriate gesture, which renders every quality inapplicable as a denotement of general characteristics. The action may be either extremely feeble or spasmodically energetic. The action of the countenance, shoulders, and fingers, and the movements of the arm from the body, are solely the subjects of notation. The movement of the arm is signified by f. DRAMATIC EXPRESSION. 303 Bl Ldv Art I EBd Ls s (Skin livid.) lS*r Bef "Bring me to my trial when you will! EB dl Sr sf-s SI Mo Died he not in his bed 1 Where should he die 1 JEBf EBd Mo SfB^r Sf Can I make men live, whether they will or no? C r Art Sr Bcp Oh ! torture me no more — I will confess. — EBd Mo rSr Bgr Bsf "Alive again? then show me where he is; -grf I'll give a thousand pounds to look upon him!" Shtlock rejoicing over the Prospect of Revenge on Antonio. Rancor, Savage Rapture, and Sanguinary Purpose. Great energy. Crlss A)'i! B c T s 1 2 Baphfrb (B gr ef Bgr h f) (B op ef B gr h x) " I am very glad of it ! I '11 plague him ! I '11 torture him ! I am Rl R2 Bl B2 Cr Lr Art Nd Baphf rb glad of it!" Rl rb signifies the action of rubbii * When the gesture of one shoulder is noted, the S is preceded by an r or I, to denote whether the shoulder is the right or the left. 304 EXEMPLIFICATION OP Timothy Quaint to Mrs. Fidget. Quiet Humor and Broil Sarcasm. Moderation; movements in direct lines. B r Ls c Hrlsft — uplhcbn wplbfp — (L — nnbq — ) 1. "No it doesn't follow, it generally goes before: you retail B up 1 h q B up hhq 2. your knowledge every week-day in small paragraphs; and on — alhf Bvlhf upihf— Bslhf , Bslhq — 3. Sunday, you rush forth yourself, fresh from the press, — a walking (BsnefBsnbf) 4. journal of weekly communication." The body is supported equally on both feet: — no change in the position of the feet. Line 4. — (B s n e f Bsnhf). The movements in this gesture should be made in curved lines. Lear's Confusion in Regard to the Intelligence commu- nicated BT GLOSTER, THAT CORNWALL AND REGAN ARE NOT TO BE SEEN. Senility, Irascibility, Authoritativeness, Paternal Affection, Doubt, Perplexity, Amazement, Anger, Vexation, Forgiveness* Slight boldness on the first line : tremulousness, general. Brc II b F cl d x — cl br p i h q — 1. "The king would speak with Cornwall; Ll Cr Al (Moderation.) Hdfin&r — up ihq — L — snhf — 2. The dear father would with his daughter, speak, — L2 service. (Medium boldness) H b up 1 h q — commands her Ll * The last eight affections are portrayed in succession. ORATORICAL EXPRESSION. 305 B 1 c A r (Slight energy.) Hdf Bslhfinef&tt— Bslbq 3. Are* they informed of this? L2 Bclss Arid (Moderation.) Hf 4. Fiery? — the fiery duke? — L2 Br Ldv Mo (Limitation.) B v 1 e x b My breath and blood ! El B r c (Medium boldness.) II b up 1 h f — up i h q — Tell the hot duke, that — Ll Cr Al (Moderation.) vlhfire— ILfsh Bnndx 5. No, — but not yet; — may be he is not well." L2 Line 3. — B v 1 e x b. b represents the backward movement of the arms. Macbeth to the Ghost of Banq.uo. Maddened Rage, the Courage of Despair, and the Mandate of Horror. Great energy and boldness. Br Ldv Mo Al (Bvoehfrt Bi-oehf ) (Bvoehfrt Bvoehf ) B vo e h f rt D F Bwehf "Avaunt ! and quit my sight! Let the earth hide thee!" stUlx aL2 Ll L2 Oratorical Expression. Earnestness, Indignation, and Exculpation. Magnificence and great energy. Be Xsc ZcZlNrLr slhf— cZdx Bvlhf "That principle which makes it base for a K2 rRl Br B c Ls c B n n h x cl h f — cldx Binhec man to suffer when he ought to act; which, tending to preserve R2 Nr Lr B p 1 h q dt i e f bn TJ vneq — (Bvolhec Bvolhx) to the species the original designations of Providence, spurns at Rl R2 26* 306 EXEMPLIFICATION OF Brc Nr Kbclhec — cldb slhc — slhq B clex Bvnec the arrogant distinctions of man, and vindicates the independent Rl R2 Bvneq. Bslhq quality of his race." Rl Apostrophe from a Sermon of Robert Hale. Reverence, Congratulation, Joyous Confidence, Solemn Annuncia- tion, Admiration. The last four in succession. Slight energy, augmenting to medium. Ld\ U*B«pldx Binb.ec Bpldx "Enjoy that repose, illustrious immortals! Your mantles fell, R2 Bl Br Fex Bvndx B p 1 b x B v eefbn vile f — when you ascended ; and thousands, inflamed with your spirit, R2 Ldv EBu Bclefbn pnbf— m'lef— vnZ.— viZ — and impatient to tread in your steps, are ready to swear by Him Rl viz — that sitteth on the throne and liveth for ever and ever, that they Be Br LdT Be 1 cZ d x B i n b c Bwehc plhb— (B £c e f &« B p 1 d b) snbf— will protect Freedom in her last asylum, and never desert that R2 Rl Bslhf wlef- B ape ibn— vilef— cause, which you sustained by your labors, and cemented with your R2 Rl blood." * Upward look throughout. DIDACTIC EXPRESSION. 307 The Determination of Hxder All — Burke. Aive, Gloom, Wonder, and Magnitude of Devastation. Limitation on the first division ; magnificence on the second ; mode- ration on the third. i BcZsc BlcAl Br (dt n H — cZ d x — ) veeqim B v 1 e q "He resolved, in the gloomy recesses of a mind capacious of Ll x . a Lo (pnhco* — pnhb — ) Bwex i?oBvl such things, I to leave the whole Carnatic an everlasting monu- I L2 Ll Ldv Al EBd Z plhx — vehc t-oleq — wlec ment of vengeance, and to put perpetual desolation, as a barrier, ri b,2 3 B r Ld 1 EB u 2 B v 1 h f bn Bin if against whom, the faith which holds the Bteef pnhb — — snhc between him and those, Rl Ldl ! 2 1 Btcbr Bplhx Baphf Bvlhf BR moral elements of the world together, was no protection." Didactic Expression. Moderation. Br Br DF snh f — dtn F — (inL — snhq — ) — sleq 1. " Reading makes a full man, conversation a ready man, and L l Dr(plihc— phhf— )Bwplhf (dti ef — upi hf) plhf— pehf— 2. writing an exact man. Therefore, if a man write little, he Br Ldr Ldv vlef — dtuQi— (dtnei— snhq— ) vpshq — vine 3. needs a great memory; if he converse little, he wants a pre- * o. The hand moves outward. 308 EXEMPLIFICATION OF Br Ldx EB\ fl— voleq— ) snhf— vlhf— Bvnef dtief— 4. sent wit ; and if he read little, he ought to have much cunning, Br Ld\ (uoleqr — t'ilec— ) — slhq— vlhq R 5. that he may seem to know what he does not." Line 2. — The fingers attain their position on " little" — p e h f — by- springing from a collected position. 3. The hand should move rapidly in executing the action on "present." 4. The gesture on "little" — vlhf — , is a sudden change in the position of the hand. 5. — The motion in the gesture, (vo leqr — vile c — ), must be slow. Poetic Expression. Joxousness. Beauty of Scenery. Limitation. CrBrisc Cr Br scshfth— Bnlhx II or D slhf- 1. "Thy grasp is welcome as the hand El br — HI — pnhx 2. Of brother in a foreign land ; K2 tr L 2 Brc Br Cr volZ — — vneecbn 3. Thy summons welcome as the cry aS2 pnhbn — Krdtn'E- 4. That told the Indian isles were nigh, Rl — p i h ec 5. To the world-seeking Genoese; — R2 POETIC EXPRESSION. 309 Lo vnef F Bsllaf 6. When the land-wind, from woods of palm, cR2 Lo(snhe — snh q — ) F (Bpnhc Bnnhq) 7. And orange groves and fields of balm, Lo Bplhfaad 8. Blew o'er the Haytien seas." Rl R2 Line 1. — scshfth — . cs the clasped position of the single hand; th the action of throwing. 4. — pnhbn — . The fifth letter signifies the action of noting. H r dt n E — . The hand approaches towards the right eye. 6. — c R 2. The crossing movement of the feet, places the front of the body in a position which forms, with the line of the front on " Genoese," an angle of about thirty-five degrees. 8. — Bplhfaad. Before the hands reach the position indicated, they must execute an ascending circular movement in front of the body, and then, the advancing movement. Imprecation, Detestation, Scornful Reproach. Magnificence, medium energy and boldness. Brc Ls c NrLr Br TJ Brilef B L vol h x Bsphx " May their fate be a mock-word ! May men of all lands, Rl R2 Rl Cr Nr Lr 2 Bvleq (Bfchfk Bplhx) Laugh out, with a scorn that shall ring to the poles, R2 Rl R2 Blc Art NrLrTs up cs hq — ics dx d shq— sdsdx When each sword that the cowards let fall from their hands, v gr eq — d^rdx pshqp — dsdx Shall be forged into fetters to enter their souls." Rl R2 310 ADDITIONAL EXAMPLES. BuKlESaUE DlGNITY. Moderation. Br Ld r is s B up e h f bn up 1 h f — "Good lack! quoth he, yet bring it me, isp B S My leathern belt likewise, up cs S — B In which I bear my trusty sword, lib When I do exercise." Each foot in this example is placed at full length upon the ground. Hb, on the last line denotes that the head leans slightly back from its previous position, which is erect and stiff. Additional Examples. The following examples are presented for the purpose of introducing elements which have been described, but not applied. Ophelia's Despondency on the Apparent Madness of Hamiet. Limitation. EBu Al Hfcl Biradf "Oh ! woe is me!" R2 i in. The first inclosed position of both hands. Mark. Antony at the Corpse of Cesar. Excessive Grief. Limitation. Be Cr Al D Bwhf BMrhf- Oh ! pardon me, thou bleeding- piece of earth ! " CONCLUDING REMARKS. 311 Both hands are ivringing on "oh," and linked on "pardon,-' and throughout the line. The lower limbs kneeling. Predictive Devastation. Medium energy, slight boldness. "And Caesars spirit, ranging for revenge, With Ate by his side, come hot. from hell, Shall, in these confines, with a monarch's voice, Brc Ld r Art clhfst — p cr e q bn re — Cry — 'havoc,' and let slip the dogs of war!" aR2 rKl The hand recoils, after executing the striking movement on " havoc." From Young's Night Thoughts. Wonder and Admiration. Magnificence. B c Ld r Ls c Br Mo 3 Btchf Bvlef "How complicate, how wonderful is man!" El R2 3 tc, third touching position of both hands. Both of the gestures must be executed with one continuous movement. Concluding Remarks. The principles and instrumentality of expression, as adapted to the observer in the twofold relation of auditor and spectator, have now been presented. Accuracy of execution in the art of expression, is dependent upon a knowledge of the nature and formation of what is executed, and a due regard to the principles of applica- tion and association. The practice of an art which is 312 CONCLUDING REMARKS. subservient to the varied moods of the mind, is, neces- sarily, almost unlimited in diversification ; comparatively few of the various forms of elementary combination are therefore imparted by the notations of voice and gesture : but the execution of each notation and of both nota- tions combined, in accordance with the design of the work, can be effected, only by regarding the relation of every mode of voice or of gesture to the mind, instead of viewing it as a mere appliance of verbal language : consequently, the notations afford a guide to the illus- tration of every shade of thought and passion, and obviate the necessity of additional examples of the asso- ciation of the expressive elements. The notations like- wise impart facility in the use of the mechanical part of expression. Though every form of expression has not been intro- duced, the agency of every instrument has been deve- loped. 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