Elocution Made Easy, Containing Rules and Selections for Declamation and Reading

CHAPTER VI.

NINETEENTH LESSON

EMPHASIS.

By emphasis is meant a stronger and fuller sound of voice, by which we distinguish some word or words on which we design to lay particular stress or force, and to show how they affect the rest of the sentence.

A GENERAL RULE FOR EMPHASIS.

Whenever words are contrasted with, contradistinguished from, or opposed to, other words expressed or understood, they are always emphatical.

NOTE.-When both parts of this opposition or contrast are expressed, then emphatic words become very obvious, as,

'Tis hard to say, if greater want of skill

Appear in WRITING or in JUDGING ill.

But when but one part of the opposition or contrast is expressed, and the other is to be supplied by the understanding, the emphatical word is not so easily discovered.

EXAMPLES.

I'll be in men's DESPITE a monarch.

(That is, in their spite not in their favor )
Such plays alone should please a British ear,
As CATO'S SELF would not disdain to hear.
(That is, not merely an ordinary man, but Cato.)
A CHILD might understand it.

(That is, not merely a man, but a child.)

I am tortured to madness when I THINK of the insult.

(That is, not merely when it is spoken of but when I think of it.)

How beautiful is nature in her WILDEST scenes.

(Not merely in her soft and tranquil scenes, but in her wildest scenes.)

Do you ride to town TO-DAY? (To day and not to-morrow.)

Do you ride to TOWN to-day?
(To town and not the country.)

Do you RIDE to town to-day?
(Do you ride and not walk?)

Do YOU ride to town to-day?
(Do you and not your son ?)
Do you ride to town to-day?
Do you go at all or stay at home?)

CHAPTER VII.

TWENTIETH LESSON.

THE KEYS OR PITCHES OF THE VOICE.

No. E.-A change of key is generally required at the commencement of a new sen.

tence

The principal keys of the voice are the low, the middle and the high.

The low key is adapted to solemn and sublime subjects

EXAMPLE.

The Lord, the sovereign sends his summons forth,
Calls the south nations, and awakes the north;
From east to west the sounding orders spread,
Through distant worlds and regions of the dead.

The middle key is adapted to common conversation. The high key is adapted to high excitement.

EXAMPLE.

COURAGE CHIVALROUS EXCITEMENT-HIGH, LOUD, SLOW

Once more unto the breach, dear friends, once more;

Or close the wall up with our English dead!

In peace, there's nothing so becomes a man,

As modest stillness, and humility;

But when the blast of war blows in our ears,
Then imitate the action of the tiger;
Stiffen the sinews, summon up the blood,
Disguise fair nature with hard-favored rage.
On, on, you noblest English,

Whose blood is fetched from fathers of war-proof'
Fathers, that, like so many Alexanders,

Have, in these parts, from morn till even fought,
And sheathed their swords for lack of argument.
I see you stand like greyhounds in the slips,
Straining upon the start. The game's afoot;
Follow your spirit: and, upon this charge,
Cry-Heaven for Harry! England! and St. George!

COURAGE-DESPERATE EXCITEMENT-HIGH, LOUD, SLOW, MORE
ASPIRATED.

Fight, gentlemen of England! fight, bold yeomen!
Draw, archers, draw your arrows to the head:
Spur your proud horses hard, and ride in blood;
Amaze the welkin with your broken staves !—
A thousand hearts are great within my bosom :
Advance our standards, set upon our foes;
Our ancient word of courage, fair St. George,
Inspire us with the spleen of fiery dragons!
Upon them' Victory sits on our helms.

CHAPTER VIII.

TWENTY-FIRST LESSON.

THE MANAGEMENT OF THE BREATH.

THE importance of skillfully managing the breath can be duly appreciated by those only who have been trained to it. It is much to be regretted, that this subject has not received more attention from writers on Elocution; while some musical writers have given it a prominent place in their works, and the most eminent teachers of vocal music give it special attention in their instructions But most teachers of Reading and

Speaking more or less neglect it. This is one of the main reasons that so few efficient and accomplished readers are found in many of our schools. This subject has a special claim to attention, as it has an important bearing on health, as well as on elocution.

A few exercises are here submitted, which may be readily understood, and practised by any teacher who may concur with the author in his opinion of their utility. It is confidently believed, that by exercises like the following, the power and extent of the voice may be greatly increased.

NOTE.-Let the pupil or pupils inhale a full breath before commencing, and con tinue the sound of the vowel, on one key or pitch, while the teacher or another pupil is counting the numbers expressed above the line. In all cases a full breath should be taken as quickly as possible. A new pitch may be taken at each line. Those who are acquainted with the rudiments of music, will find it beneficial to practise these or similar exercises in octaves, or such other distances as they may prefer.

TWENTY-SECOND LESSON.

Teacher, 1 2 3 4 5 6 7 8 9 10